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Providing a history of the art of the Southern Netherlands from 1585 to 1700, this text examines the development of Flemish painting, as well as the sculpture and architecture of this period.
The question of whether seventeenth-century painters such as Rembrandt and Rubens were exclusively responsible for the paintings later sold under their names has caused many a heated debate. Despite the rise of scholarship on the history of the art market, much is still unknown about the ways in which paintings were produced, assessed, priced, and marketed during this period, which leads to several provocative questions: did contemporary connoisseurs expect masters such as Rembrandt to paint works entirely by their own hand? Who was credited with the ability to assess paintings as genuine? The contributors to this engaging collection—Eric Jan Sluijter, Hans Van Miegroet, and Neil De Marchi, among them—trace these issues through the booming art market of the seventeenth and eighteenth centuries, arriving at fascinating and occasionally unexpected conclusions.
This second edition of Historical Dictionary of Baroque Art and Architecture contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 600 cross-referenced entries on famous artists, sculptors, architects, patrons, and other historical figures, and events.
Despite the tremendous number of studies produced annually in the field of Dutch art over the last 30 years or so, and the strong contemporary market for works by Dutch masters of the period as well as the public's ongoing fascination with some of its most beloved painters, until now there has been no comprehensive study assessing the state of research in the field. As the first study of its kind, this book is a useful resource for scholars and advanced students of seventeenth-century Dutch art, and also serves as a springboard for further research. Its 19 chapters, divided into three sections and written by a team of internationally renowned art historians, address a wide variety of topics, ranging from those that might be considered "traditional" to others that have only drawn scholarly attention comparatively recently.
"Flemish paintings part III is the third in a series of catalogue raisonnés dealing with Dutch and Flemish paintings in the Nationalmuseum. This volume covers the Flemish paintings from the 17th and 18th century"--Preface.
"This catalogue of the Gallery's remarkable collection of Flemish paintings offers new information about each of the individual works. Stylistic characteristics of the paintings have been analyzed; historical circumstances related to their creation have been assessed; and their provenances have been reexamined. A number of the paintings have undergone conservation treatment, while the technical characteristics of other works have been thoroughly studied. This exhaustive research has indicated that the titles, dates, and even attributions of a number of works needed to be changed, and the catalogue includes a concordance of these revisions."--BOOK JACKET.
"This bibliography supplements the greatest of modern art bibliographies, Etta Arntzen and Robert Rainwater's Guide to the literature of art history (ALA, 1980)"--Preface.
An examination of Inigo Jones's work within the context of the European early seventeenth century classicist movement. Includes a broad survey of contemporary architecture in Italy, Germany, France and the Netherlands, as well as a close examination of Jones's buildings.
The catalog opens with a detailed account of the growth of the collection from the early Stuarts to the reign of Queen Victoria. Particular attention is given to Charles I's close relations with Rubens, and since later members of the royal family also made important acquisitions, the full range of Rubens' practice is covered by the catalog: there are works entirely by his hand as well as works carried out with known collaborators or with the help of his studio. An outstanding group of genre paintings by David Teniers the Younger is examined and illustrated, and paintings by Jan Brueghel, Gonzalez Coques, Frans Francken, Frans Snyders, Karl Philips Spierincks and Jan Wildens round out the collection.
Truly collaborative paintings, that is, not simply mechanical but also conceptual co-productions, are rare in the history of art. This gorgeously illustrated catalogue explores just such an extraordinary partnership between Antwerp's most eminent painters of the early seventeenth century, Peter Paul Rubens (1577-1640) and Jan Brueghel the Elder (1568-1625). Rubens and Brueghel executed approximately twenty-five works together between around 1597 and Brueghel's death in 1625. Highly prized and sought after by collectors throughout Europe, the collaborative works of Rubens and Brueghel were distinguished by an extremely high level of quality, further enhanced by the status of the artists themselves. Published to coincide with an exhibition at the Getty Museum to be held July 5 to September 24, 2006, the catalogue features twenty-six color plates of such Rubens/Brueghel paintings as The Return from War, The Feast of Achelo�s, and Madonna and Child in a Garland of Flowers, along with Rubens and Brueghel's collaborations with important contemporaries such as Frans Snyders and Hendrick van Balen. This is the first such publication to fully address and reproduce these works in depth.
Art history has not given Adriaen Thomasz Key's legacy its proper due, to say the least. After a short and successful artistic career in a turbulent period, Adriaen Thomasz Key vanished from the stage for centuries. Barring his art, he left few other traces behind and over time even this came to be riddled with the most far-fetched attributions. In the past, connoisseurs were often at a complete loss. Adriaen Thomasz's pictures were ascribed to a host of painters from numerous countries and periods. The names of Frans Pourbus the Elder and Willem Key, for instance, were linked to several of Adriaen Thomasz's panels. Other works had to endure attributions which had nothing in common with the quality, let alone the art, of the master. Dozens of inferior portraits were given to Adriaen Thomasz and many of his altarpieces and devotional scenes were not recognised as such because he was considered solely as a portraitist. Consequently, up until now the image of Adriaen Thomasz's art has been clouded and inconsistent. Adriaen Thomasz Key richly deserved his reputation as a portraitist. Some ninety percent of his preserved oeuvre consists of likenesses of the Antwerp and the Dutch elite. Adriaen Thomasz's skills as a portraitist were and are generally acknowledged. With a finesse and sobriety recalling that of Flemish Primitives such as Jan van Eyck and Hans Memling, he recorded his sitters with ruthless objectivity. The same sobriety and objectivity are to be found in his altarpieces and devotional paintings, a less known facet of his art. Often incorrectly ascribed as a lack of ingenuity or understanding of the Italian Renaissance and typified as archaising, Key's history and devotional paintings prove to be of a huge intellectual resourcefulness and artistic talent. His art was a conscious, reformatory and humanistic intellectual discourse with his famous predecessors and contemporaries. The striving for photographic realism and sobrietyin the oeuvre of the painter is tackled in this monograph, bearing in mind Adriaen Thomasz's humanistic concerns with iconography. This richly illustrated monograph brings to light, for the first time, the oeuvre of a painter, called the most talented of his generation by David Freedberg. It consists of portraits and altarpieces, devotional paintings and chiaroscuro prints. The rediscovery of Adriaen Thomasz Key's art will be a eye opener to all scholars interested in the Netherlandish Renaissance and will hopefully induce new research into Adriaen Thomasz Key and his contemporaries.
Looks at important movements and artists and discusses paintings, sculpture, photographs, and architecture.
In the mid-16th century, Flanders was the most sophisticated society in Europe, but its learning and luxury industries were all but annihilated by the so-called Dutch Revolt and by the Eighty Years War that followed (1568-1648). This work discusses works which were painted during this turbulent period.
This publication on Flemish painting deals with those elements of the social and intellectual context which played a role in the realisation of any work of art, the concrete steps taken within a workshop in preparing for the production of the work, and the production through to completion of the draft. Part One, Concept, deals with those elements of the social and intellectual context which played a role in the realisation of any work of art. This section therefore examines individual motivations and the intellectual background of artists and their patrons, as also their institutional context and working conditions. Part Two, Design, examines the concrete steps taken within a workshop in preparing for the production of a work of art. These include the use of study materials, such as collections of exempla, as well as the stages of work required to make exploratory sketches, the finished draft and thence its transfer to the definitive medium to be used. Part Three, Execution, focuses on the production through to completion of the draft on its support medium. This may be done by the artist himself, or through one or other method of sharing the work, such as the employing of assistants or specialists. Introduction by Frans Baudouin.
Brings together 17th century paintings, sculpture, drawings, prints and decorative arts from the Southern Netherlands, the area now known as Belgium. The book includes the work of Rubens, van Dyck and Jordaens, along with examples of furniture, metalwork and glass.

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