‎LES ARTISTES AU BORDEL.‎

‎, Paris, Flammarion, 1997., Broche, couverture d' editeur illustre en couleur, 22x13,5cm, 347pp, index. ISBN 2080674048.‎

‎bon document !‎

‎Polonia - Eine Nationalallegorie als Erinnerungsort in der polnischen Malerei des 19. Jahrhunderts‎

‎Köln, 2013 368pp., with illustrations in colour, 23cm., softcover, Doctoral Dissertation (Dissertation zur Erlangung des Doktorgrades der Philosophischen Fakultät der Universität zu Köln), stamp at verso of title page, text is clean and bright (looks unread), good condition, S110418‎

‎Peinture magique Papillons: Avec 1 pinceau‎

‎Marabout 2022 12 pages 18 8x19 1x0 7cm. 2022. Broché. 12 pages.‎

‎bon état‎

‎Proust et la peinture italienne‎

‎2011, MICHEL DE MAULE. In-12, broché couverture illustre. 190pp. Nombreuses illustrations en couleurs.‎

‎Très bon exemplaire, quelques frottements mais rien de grave.‎

‎stratégies de la narration dans la peinture médiévale. La représentation de l'Ancien Testament aux IVe-XIIe siècles‎

‎, Brepols, 2020 Hardback, 464 pages, Size:216 x 280 mm, Illustrations:215 b/w, 68 col., Languages: French, English. *new. ISBN 9782503581712.‎

‎Summary Depuis les débuts de l'art chrétien, l'Ancien Testament a reçu une place singulière dans le décor des églises comme dans l'illustration des manuscrits. Certaines formules conçues aux IVe-Ve siècles se sont imposées durant tout le Moyen Âge, comme celles de Saint-Pierre de Rome, et une influence encore plus large a longtemps été attribuée à la Genèse Cotton ou à son modèle. Les oeuvres médiévales ne reproduisent toutefois presque jamais servilement celles qui les ont précédées. Les concepteurs les ont constamment réélaborées pour des raisons probablement multiples : adapter la composition au cadre imposé par l'architecture ou le découpage du folio, optimiser les ressorts de la narration pour en faciliter la lecture ou toucher plus efficacement la sensibilité du spectateur, enchaîner les scènes pour entraîner le regard dans le sens de la lecture ou relier sémantiquement deux épisodes voisins, induire un sens spécifique inspiré par la théologie ou la liturgie, ou encore exprimer visuellement des ambitions institutionnelles voire politiques. Les quinze articles réunis dans cet ouvrage développent ces questionnements en les appliquant à des ensembles peints ou en mosaïque représentatifs de la période envisagée : les oeuvres conservées ou perdues des premiers siècles, Saint-Pierre de Rome, Saint-Paul-hors-les-Murs et leurs avatars médiévaux, les bibles carolingiennes de Tours et celles de Ripoll, Galliano, les autres ensembles lombards, Saint-Savin-sur-Gartempe, Château-Gontier, Palerme et Monreale. Pour enrichir cette réflexion, le champ d'investigation a été étendu aux cycles néotestamentaires des églises médiobyzantines et aux mosaïques de Saint-Marc de Venise. Dans la conclusion, Herbert Kessler propose en effet une mise au point stimulante sur la délicate question de la Genèse Cotton en nuançant son influence sur le cycle vénitien. L'ouvrage offre ainsi un panorama très complet de la représentation de l'Ancien Testament et une réflexion foisonnante sur les stratégies de la narration. TABLE OF CONTENTS Introduction Marcello Angheben, Les stratégies de la narration dans la peinture médiévale. Problématiques et perspectives I. Des premiers siècles au Moyen Âge central Jean-Michel Spieser, Les cycles paléochrétiens dits narratifs Anne-Orange Poilpré, Figurer l'Ancien Testament dans la Bible chrétienne à l'époque carolingienne. (Re)composer l'histoire Manuel Antonio Castiñeiras Gonzalez, Les Bibles de Ripoll et de Rodes et les ivoires de Salerne. La narration biblique sur des supports variés : modèles, adaptions et discours Judith Soria, Temporalité et causalité narratives dans les décors médiobyzantins II. Les traditions romaine et lombarde Serena Romano, San Pietro, San Paolo, e la narrazione cristiana. Riflessioni su una possibile storia Irene Quadri, Dipingere all'ombra di prototipi illustri. La narrazione veterotestamentaria nei cicli tipologici di XI e XII secolo in Italia centrale Marco Rossi, Les cycles de l'Ancien Testament à Galliano et dans la peinture lombarde du XIe siècle Fabio Scirea, La représentation de l'histoire d'Adam et Ève dans les milieux ambrosiens aux XIe-XIIe siècles III. Saint-savin et la peinture « septentrionale » Søren Kaspersen, Genesis Cycles: Tradition, Theology and Politics. From Cotton Genesis to Saint-Savin-sur-Gartempe Christian Davy, Les peintures murales de Saint-Jean-Baptiste de Château-Gontier et de Saint-Savin-sur-Gartempe. De la similitude à la dissemblance Kai Christian Ghattas, Reanimating the Scripture: Movement and Body Memory in the Paintings of Saint-Savin IV. Les mosaïques siciliennes Giulia Arcidiacono, Le storie della Genesi nella Cappella Palatina di Palermo. Qualche osservazione sulle fonti iconografiche e sulle strategie narrative Tancredi Bella, Le récit de la Genèse dans les mosaïques de la cahtédrale de Monreale Herbert L. Kessler, Conclusion. La Genèse Cotton est morte Planches‎

‎Chagall: The Art of Dreams (New Horizons S.)‎

‎Thames & Hudson Ltd 1998 176 pages 12x1 2x17cm. 1998. Broché. 176 pages.‎

‎KEES VAN DONGEN. (FR)‎

‎, Martigny, Fondation Pierre Gianadda, 2002., Broche, couverture d' editeur illustre en couleur, 22x24cm, 215pp, illustre en couleur et n/b, bibliographie.‎

‎Van Dongen, peintre moderne. Van Dongen, la couleur impudique. Catalogue des oeuvres exposees...‎

‎Les peintres de nus‎

‎Bruxelles, Cercle d'Art 1946 106pp.+ 48 planches hors-texte en n/bl, 25cm., br.orig., jaq. ill., dans la série "L'art en Belgique", bon état, S91859‎

‎LES PEINTRES DE NUS,‎

‎Bruxelles, Editions du Cercle d' Art, 1946 Broche, couverture carton, 170 x 240mm., 106pp., XLVIII planches n/b.‎

‎L'Art en Belgique. Bon etat.‎

‎THEO VAN RYSSELBERGHE, NL‎

‎Anvers, De Sikkel, 1948 Broche, ***zonder stofomslag / couverture papier illustree n/b, 185 x 245mm., 16pp. et 24 planches n/b.‎

‎Serie Monographies de l'Art Belge. Bon etat. ****tekst in het Nederlands ‎

‎Jan Massys : Renaissance Painter of Flemish Female Beauty.‎

‎, Brepols - Harvey Miller, 2024 Hardback, 239 pages, ENG. edition; 305 x 220 x 20 mm; llustrations: 82 b/w, 223 col., 2 tables b/w., 1 tables col. .*new ISBN 9782503607207.‎

‎This book rediscovers the Antwerp painter Jan Massys (c.1510-1573) and his artistic milieu. / The painter Jan Massys (c. 1510-1573) trained under his father Quinten, succeeding him after his death (1530) at the head of Antwerp's most famous workshop. However, his career, destined for certain success, was abruptly cut short in 1544. Condemned for joining the Loysts sect, he had to flee Antwerp, finding refuge perhaps initially in France and at one point in Italy. Only in 1555 was he able to return to his homeland, regaining his artistic leadership within a few years. His oeuvre consists exclusively of works for private use and is characterized, in particular, by the depiction of elegant and seductive nude or half-naked female figures, protagonists of biblical or mythological subjects. The identification of the patron of the 1561 Venus with the view of Genoa (Stockholm, Nationalmuseum) in the person of the noble Genoese banker Ambrogio di Negro, offered the possibility of reconstructing the social context of the artist's clientele and his relations with those intellectuals ? both Genoese and Flemish-who gave life to the lively humanist academies of Antwerp. The figure emerges of a cultivated and particularly refined painter, who shared with his patrons the ideals of neo-Petrarchan poetry and executed paintings of great preciousness, characterized by a meticulous and skillful painting technique. TABLE OF CONTENTS Chapter 1 Johannes Massiis alias Quintens Chapter 2 A career of ups and downs Chapter 3 Jan Massys and female beauty Chapter 4 A varied painting technique for depicting beauty, lechery, and luxury Chapter 5 Inside Jan Massys? Workshop: good and not-so-good workshop practices Chapter 6 Inside Jan Massys Workshop: known and unknown assistants Chapter 7 ConclusionBIO Maria Clelia Galassi graduated in art history at the University of Genoa and obtained her PhD from the University of Milan. Since 2000 she is professor at the University of Genoa, where she teaches History of collecting and Technical Art History. She focused her researches on Flemish and Italian painting technique during the Early Modern Age, and in the artistic relationship between Genoa and the Netherlands in the 15th and 16th centuries.‎

‎l'Opéra Completa Di Mondrian‎

‎Mondrian Rizzoli 50 Couverture rigide 1974 Italie 120 pages ; illustrations en couleur et en noir et blanc‎

‎Bon ‎

‎'Narrating' the Landscape. British Creativity in Landscape Portrayal 1760-1800‎

‎, Brepols, 2026 Paperback, Pages: x + 366, Size:210 x 297 mm, Illustrations:122 col., Language: English. ISBN 9782503602516.‎

‎Summary At the turn of the nineteenth century, British landscape painting had evolved from the literal or idealised rendering of a view into the expression of a sensitive perception of a scene that would 'tell its story'. To achieve this evolution, certain late eighteenth-century landscape artists synthesized aesthetical, educational, and practical approaches. For many, a sojourn in Italy, where their practice was largely devoted to the exercise of plein-air sketching, became a laboratory to experiment with processes and deal with issues of materiality in a particularly innovative manner. This book investigates the roots of this renewal, explores technical and material innovations, and examines their diffusion through engraving and publishing. TABLE OF CONTENTS Introduction I: A Prospect of Landscape Portrayal II: The Mastery of Landscape Portrayal III: The 'Learned Eye' on Nature IV: 'Capturing Nature': Exploring Sketching from Nature V: 'Conveying an Impression of Nature': Exploring Materiality VI: 'Expressing Nature's Essence': Exploring Colour Techniques VII: Reinventing Modes of Disseminating Skills VIII: Sharing Travel Experiences IX: Sharing Practices: Artistic Emulation on the Grand Tour Conclusion Addendum: Characteristics and Details of Sketchbooks and Albums Sources and Select Bibliography Index‎

‎VICTOR STUYVAERT. HOUTSNIJDER EN MINIATURIST. ‎

‎, Gent, Snoeck - Ducaju, 1942., originele uitgeversomslag geïllustreerd, frontispice , 17x22,5cm, 153pp, geillustreerd z/w. ***beschadigd exemplaar‎

‎De faunreeks: bibliotheek voor literaire, artistieke en cultuurhistorische werken. ‎

‎VICTOR STUYVAERT. HOUTSNIJDER EN MINIATURIST. ‎

‎, Gent, Snoeck - Ducaju, 1942., herbonden in linnen , frontispice (gesigneerd door Stuyvaert), 17x22,5cm, 153pp, geillustreerd z/w.‎

‎met opdracht van Paul Rogghe aan Jo Battor = directeur van uitgeverij Snoeck. De faunreeks: bibliotheek voor literaire, artistieke en cultuurhistorische werken. ‎

‎Sublime Truth and the Senses: Titian's Poesie for King Philip II of Spain‎

‎, Brepols - Harvey Miller, 2019 Hardback, iv + 232 pages, Size:220 x 280 mm, Illustrations:71 b/w, 77 col., Languages: English, Italian, Latin. ISBN 9781909400276.‎

‎Summary The paintings for Philip II, known as the Poesie, are among the most frequently discussed works of art that address a favored Renaissance theme, the influence of the pagan gods on human actions. The commission is traceable to 1549, when Emperor Charles V summoned the artist to Augsburg following Prince Philip's triumphal parade through the empire as his father's heir apparent. The cycle that took shape comprises Danae and Venus and Adonis (Madrid, Prado); Diana and Actaeon and Diana and Callisto (Edinburgh, National Gallery of Scotland); Perseus and Andromeda (London, Wallace Collection) and Europa (Boston, Isabella Stewart Gardner Museum). These masterpieces of the artist's mature period can be considered the most important Renaissance grouping of mythological paintings executed by a single artist. The author proposes that Philip's expected elevation prompted the commission and that the subjects form a cohesive program of Hapsburg ethical views and political concerns, and that Titian created new visual idioms to represent the complex issues which the subjects address in part by engaging themes with a significant prior history in family patronage. While Titian's Poesie for Philip II are well known monuments of western culture, they have never before been investigated with this focus. The dispersal of the pictures' in the seventeenth century resulted in a scholarly focus on the single pictures and a concentration on their sensual aspects. In Aretino, a Venetian dialogue on painting, Titian's friend and apologist Lodovico Dolce is a spokesman for art that following poetry, entices through beauty, while hiding important truths beneath the veil of allegory. This study analyzes the ways in which Titian incorporates new concepts of sensuality and spirituality in a Venetian vernacular to create masterpieces whose originality and ravishing beauty belie their didactic content.‎

‎Peinture au numéro - licornes et chevaux - cahier avec palette et pinceau: 2 tableaux avec pinceau et palette de peinture papier‎

‎DEUX COQS D OR 2022 4 pages 19x24 4x1 5cm. 2022. loose_leaf. 4 pages.‎

‎Très bon état‎

‎Peinture au numéro - licornes et chevaux - cahier avec palette et pinceau: 2 tableaux avec pinceau et palette de peinture papier‎

‎DEUX COQS D OR 2022 4 pages 19x24 4x1 5cm. 2022. loose_leaf. 4 pages.‎

‎Neuf‎

‎Peinture au numéro - licornes et chevaux - cahier avec palette et pinceau: 2 tableaux avec pinceau et palette de peinture papier‎

‎DEUX COQS D OR 2022 4 pages 19x24 4x1 5cm. 2022. loose_leaf. 4 pages.‎

‎Comme neuf‎

‎Questioning Pictorial Genres in Dutch Seventeenth-Century Art. Definitions, Artistic Practices, Market & Society‎

‎, Brepols, 2021 Paperback, 402 pages, Size:216 x 280 mm, Illustrations:130 col., 19 tables b/w., Language: English. ISBN 9782503596242.‎

‎Summary Church interiors, cortegaerdjes, scenes of everyday life, tronies, landscapes, spoockerijen, group portraits, bambocciate, hunting scenes, history paintings, sottoboschi, still lives and many other subjects: the wide variety of pictorial genres and sub-genres in which Dutch artists specialized is a key component in our perception of Dutch seventeenth-century art. Yet the epistemological framework constituted by genre definitions, conventions and hierarchies is far from self-evident, nor does it necessarily reflect how people in the seventeenth-century thought about artworks. In fact, art literature of the period is largely silent on these matters and artists do not appear to have followed an established set of principles. This volume examines the way pictorial genres can be, and have been, defined by artists, theorists, audiences and art historians; how individual artists conceived the subject matter of their artworks; and how society and the art market contributed to the development of certain subjects. As such, it embraces the complex and often messy reality of pictorial genres in seventeenth-century Dutch art. TABLE OF CONTENTS Questioning Pictorial Genres in Dutch Seventeenth-Century Art: Introduction Marije Osnabrugge (University of Geneva) I. Defining genre The So-Called Hierarchy of Genres in Seventeenth-Century Dutch Art Theory Jan Blanc (University of Geneva) Spotting Specialists: A Digital Approach to Contemporary Concepts of Genre and Specialisation Weixuan Li (University of Amsterdam / Huygens - KNAW) The Seventeenth-Century Dutch Portrait: An Unstable Genre Ann Jensen Adams (UC Santa Barbara) The Bambocciata: Investigating a "Would-be genre" Suzanne Baverez (ENS ULM/EPHE, Paris) From Genre Scenes à l'antique to genre sérieux : the Contribution of Gerard de Lairesse Tijana ?akula (Utrecht University) Definition through Appreciation: The Corporate Group Portrait from the Seventeenth until the Twenty-First Century Norbert Middelkoop (Amsterdam Museum) II. Artists and Genres Guns and Roses: Versatility and Variety in the Oeuvre of Jacques de Gheyn Susanne Bartels (University of Geneva / RKD The Hague) Otto Marseus van Schrieck and the Sottobosco Paintings: Hybrid Subject as a form of Automimesis. VE. Mandrij (Unversity of Konstanz) Rembrandt as Genre and History Painter: Picturing Pain Stephanie Dickey (Queen's University, Kingston) Defining the Hybrid Genre in the Context of Saenredam's Perspectives Helen Hillyard (Dulwich Picture Gallery, London) The 'Little Street' - Vermeer's Writing on the Wall Reindert Falkenburg (NYU Abu Dabi) III. The Market and Society The Dominance of History Painting: Social Class and Subject Matter of Paintings in Amsterdam, 1650-1700 Angela Jager (University of Geneva) Rethinking Swanenburg: The Rise and Fortune of New Iconographies of the 'Hell' in Italy and the Northern Netherlands Tania De Nile (MiBAC, Rome) La Scène de Corps de Garde comme Autoreprésentation Léonard Pouy (Haute École de la Joaillerie, Paris) Honour and Shame in Dutch Seventeenth-Century Art and Culture Wayne Franits (Syracuse University)‎

‎Bruegel, het volledig oeuvre. Breugel, Brueghel‎

‎, Antwerpen, Mercatorfonds, 1988 , Gebonden In linnen met goudopdruk,Omslagwikkel in kleur, 420pp, rijkelijk geillustreerd ISBN 906153190X.‎

‎Alle werken van de kunstenaar, vormen een mooi decoratief ensemble. Alle werken, met uitzondering van enkele spreekwoorden, zijn aanwezig.‎

‎LAATMIDDELEEUWSE SYMBOLIEK EN DE BEELDENTAAL VAN HIERONYMUS BOSCH.‎

‎, Brussel, Paleis der Academien, 1977., originele uitgeversomslag, 18x26cm, 54pp, geillustreerd z/w.‎

‎Avec un resume Francais. Mededelingen van de Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van Belgie, Klasse der Schone Kunsten. Jaargang 39, nr. 1.‎

‎WERKEN VAN BRUEGEL UIT NEDERLANDS EN BELGISCH OPENBAAR BEZIT.‎

‎Amsterdam/Brussel, Nederlandse Stichting Openbaar Kunstbezit/Openbaar Kunstbezit in Vlaanderen/Prins Bernhardfonds, 1969 Ingenaaid, beige linnen hardcover met goudopdruk, 27.4x23.8 cm., 88 pp., 55 illustraties in kleur en in z/w.‎

‎WERKEN VAN BRUEGEL UIT NEDERLANDS EN BELGISCH OPENBAAR BEZIT.‎

‎HIERONYMUS BOSCH‎

‎, Brussel, Arcade, Gebonden, donkerblauw linnen met goudopdruk op rug, geillustreerde stofomslag, 265 x 305mm, 565pp., meer dan overvloedige illustratie in kleur en z/w; sommige platen uitplooibaar.‎

‎Foto's van M. Seidel. Boek is in prima staat.‎

‎Hieronymus Bosch‎

‎Brussel, Arcade 1972 565pp. rijkelijk geïllustreerd in kleur en zw/w, linnen band met geïll.stofwikkel, in zwart linnen etui, 30cm., mooie staat, [text in dutch], S52253‎