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Book
191 p. : ill. (chiefly col.) ; 28 cm
Green Library
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ND1422 .E85 F35 2014 Unavailable At bindery Request

2. Hans Holbein [2014]

Book
406 pages : ill. (some color) ; 22 cm
Art & Architecture Library
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N6888 .H664 B38 2014 Unknown

3. Paolo Veronese [2014]

Book
351 pages : illustrations ; 34 cm
Art & Architecture Library
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ND623 .V5 Z3613 2014 F Unknown
Book
xvi, 257 pages, 16 unnumbered pages of plates : illustrations ; 24 cm.
  • The "pregnant" Magdalene, bride of Christ: Rogier van der Weyden's Descent from the Cross
  • The wise and foolish Magdalene: Rogier van der Weyden's Braque triptych
  • The engaging Magdalene: Quentin Massys' Mary Magdalene opening her jar
  • The lovesick Magdalene: the Master of the Female Half-lengths and Jan van Hemessen's Musical Magdalenes
  • The melancholic Magdalene: Adriaen Isenbrant and the Master of the Female Half-lengths' Landscape Magdalenes.
  • The "pregnant" Magdalene, bride of Christ: Rogier van der Weyden's Descent from the Cross
  • The wise and foolish Magdalene: Rogier van der Weyden's Braque triptych
  • The engaging Magdalene: Quentin Massys' Mary Magdalene opening her jar
  • The lovesick Magdalene: the Master of the Female Half-lengths and Jan van Hemessen's Musical Magdalenes
  • The melancholic Magdalene: Adriaen Isenbrant and the Master of the Female Half-lengths' Landscape Magdalenes.
Art & Architecture Library
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ND1432 .F57 J65 2014 Unknown
Book
367 p. : ill. (chiefly col.) ; 30 cm
Art & Architecture Library
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ND623 .P8 A4 2014 F Unknown
Book
viii, 376 p. : ill. (some col.), ports. ; 30 cm
Art & Architecture Library
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ND565 .M48 2013 F Unknown
Book
218 p. : illustrations (some color) ; 27 cm.
  • Mannerism and imitation
  • Gigantum arrogantia: Raphael vs. Michelangelo in Perino del Vaga
  • Daniele da Volterra's contested subject
  • Pellegrino Tibaldi's Apologus Alcinoi
  • Painting and counter-reformation in the Poggi Chapel.
"Explores the imitation of Michelangelo by three artists, Perino del Vaga, Daniele da Volterra, and Pellegrino Tibaldi, from the 1520s to the time around Michelangelo's death in 1564. Argues that his Mannerist followers applied imitation to identify with and/or create ironical distance from to the older artist"--Provided by publisher.
  • Mannerism and imitation
  • Gigantum arrogantia: Raphael vs. Michelangelo in Perino del Vaga
  • Daniele da Volterra's contested subject
  • Pellegrino Tibaldi's Apologus Alcinoi
  • Painting and counter-reformation in the Poggi Chapel.
"Explores the imitation of Michelangelo by three artists, Perino del Vaga, Daniele da Volterra, and Pellegrino Tibaldi, from the 1520s to the time around Michelangelo's death in 1564. Argues that his Mannerist followers applied imitation to identify with and/or create ironical distance from to the older artist"--Provided by publisher.
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ND615.5 .M3 S74 2013 Unknown
Book
130 p. : ill. ; 30 cm.
Rather than as a destructive moment in history, the Iconoclasm of 1566 in the Netherlands was the catalyst for a re-evaluation of (religious) art in the Low Countries. It forced painters to question the very nature of the artistic tradition they grew up in. Is it merely a coincidence that the art markets changed so swiftly after the Fall of Antwerp, that art theory in the Low Countries originated in the wake of Iconoclasm (De Heere, Lampsonius, ...), or that painting in the second half of the sixteenth century saw the impetus of new styles, genres, specialisations (Aertsen, De Beuckelaer, ...)? Iconoclasm forced people to think about art. The generation of painters active in the two decades between the 'Beeldenstorm' and the fall of Antwerp did this by questioning the decorum of the work of their famous predecessors.
Rather than as a destructive moment in history, the Iconoclasm of 1566 in the Netherlands was the catalyst for a re-evaluation of (religious) art in the Low Countries. It forced painters to question the very nature of the artistic tradition they grew up in. Is it merely a coincidence that the art markets changed so swiftly after the Fall of Antwerp, that art theory in the Low Countries originated in the wake of Iconoclasm (De Heere, Lampsonius, ...), or that painting in the second half of the sixteenth century saw the impetus of new styles, genres, specialisations (Aertsen, De Beuckelaer, ...)? Iconoclasm forced people to think about art. The generation of painters active in the two decades between the 'Beeldenstorm' and the fall of Antwerp did this by questioning the decorum of the work of their famous predecessors.
Art & Architecture Library
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ND635 .A78 2012 F Unknown
Book
239 pages : color illustrations ; 28 cm
  • Modernità e meraviglia nell'arte dei Brueghel / Sergio Gaddi
  • La pittura floreale fiamminga / Doron J. Lurie
  • La dinastia dei Brueghel / Klaus Ertz
  • Dalle Fiandre all'Europa: un laboratorio pittorico / Giovanni C.F. Villa
  • Pieter Bruegel il Vecchio, un "secondo Bosch" / Masimiliaan P.J. Marents
  • Funzioni e obblighi della gilda / Nathalie Wiener
  • Il crogiuolo delle meraviglie: genialità e sintesi nell'Anversa di Pieter Brueghel il Vecchio / Massimiliano Caretto, Francesco Occhinegro
  • Connsoisseurship, l'analisi dei materiali dell'opera e l'attribuzione alle scuol del Nord / Jan De Maere
  • Catalogo
  • Disegni.
  • Modernità e meraviglia nell'arte dei Brueghel / Sergio Gaddi
  • La pittura floreale fiamminga / Doron J. Lurie
  • La dinastia dei Brueghel / Klaus Ertz
  • Dalle Fiandre all'Europa: un laboratorio pittorico / Giovanni C.F. Villa
  • Pieter Bruegel il Vecchio, un "secondo Bosch" / Masimiliaan P.J. Marents
  • Funzioni e obblighi della gilda / Nathalie Wiener
  • Il crogiuolo delle meraviglie: genialità e sintesi nell'Anversa di Pieter Brueghel il Vecchio / Massimiliano Caretto, Francesco Occhinegro
  • Connsoisseurship, l'analisi dei materiali dell'opera e l'attribuzione alle scuol del Nord / Jan De Maere
  • Catalogo
  • Disegni.
Art & Architecture Library
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ND673 .B7 A4 2012 Unknown
Book
xi, 251 p. : ill. (some col.) ; 30 cm.
  • Categories and contexts : visual description and the English Reformation
  • Artists and sitters
  • Humility and pride : portraits of merchants and retailers
  • Professional reputations and representation : portraits of physicians, lawyers, clergymen
  • Performance and presence : portraits of poets, playwrights, artists and artisans.
  • Categories and contexts : visual description and the English Reformation
  • Artists and sitters
  • Humility and pride : portraits of merchants and retailers
  • Professional reputations and representation : portraits of physicians, lawyers, clergymen
  • Performance and presence : portraits of poets, playwrights, artists and artisans.
Art & Architecture Library
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Stacks
ND1314.2 .C66 2012 F Unknown
Book
591 p. : ill. (chiefly col.) ; 29 cm.
Art & Architecture Library
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ND1319.2 .F33 2012 Unknown
Book
x, 145 p. : ill. (some col.), col. maps ; 27 cm.
This book is part of a pan-European research project investigating four Netherlandish paintings from the 16th century, all depicting Christ Driving the Traders from the Temple, and presently in the collections of the Kadriorg Art Museum, Tallinn; National Gallery of Denmark, Copenhagen; Glasgow Museums, and in a private collection. This publication presents the first results of the technical investigation, multispectral analysis and art historical research. The four paintings examined are alike yet different with echoes of Hieronymus Bosch and Pieter Bruegel the Elder. The research project addresses an under-investigated part of 16th- and 17th-century Netherlandish art production that reuses popular imagery from the time of Hieronymus Bosch. The paintings represent four versions of Christ Driving the Traders from the Temple that follow religious and cultural traditions and were made with different purposes, answering to the demands of a booming 16th-century Antwerp art market.
This book is part of a pan-European research project investigating four Netherlandish paintings from the 16th century, all depicting Christ Driving the Traders from the Temple, and presently in the collections of the Kadriorg Art Museum, Tallinn; National Gallery of Denmark, Copenhagen; Glasgow Museums, and in a private collection. This publication presents the first results of the technical investigation, multispectral analysis and art historical research. The four paintings examined are alike yet different with echoes of Hieronymus Bosch and Pieter Bruegel the Elder. The research project addresses an under-investigated part of 16th- and 17th-century Netherlandish art production that reuses popular imagery from the time of Hieronymus Bosch. The paintings represent four versions of Christ Driving the Traders from the Temple that follow religious and cultural traditions and were made with different purposes, answering to the demands of a booming 16th-century Antwerp art market.
Art & Architecture Library
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ND665 .O5 2012 Unknown
Book
288 p. : ill. (chiefly col.) ; 29 cm.
  • Paolo Caliari: a Veronese painter triumphant in Venice David Rosand
  • Veronese's training, methods, and shop practice Diana Gisolfi
  • Veronese and his patrons Blake de Maria
  • "Abiti gravi, abiti stravaganti": Veronese's creative approach to drapery Rembrandt Duits
  • Veronese's story of the eye Maria H. Loh
  • Veronese in America: collecting and taste Virginia Brilliant
  • The classical tradition: mythology and allegory Inge Reist
  • The portraiture of Veronese John Garton
  • The Bible and the lives of saints Virginia Brilliant
  • Altarpieces and heavenly visions Virginia Brilliant
  • The rest on the flight to Egypt Virginia Brilliant
  • The baptism of Christ Frederick Ilchman
  • The death of Christ Frederick Ilchman
  • The drawings of Veronese John Marciari
  • Veronese and the reproductive print Jonathan Bober
  • "Like a mirror that shows his idea...": interaction in the Veronese workshop Stephen Gritt
  • Materials, technique, and the master's hand: the Seattle Venus and Adonis Nicholas Dorman and Katie Patton.
"Paolo Veronese (1528-1588) is recognized as one of the giants of Venetian Renaissance painting. His artistic production was richly varied, extending from imposing altarpieces to smaller religious paintings for private clients, from grand portraits to sensual episodes drawn from the classical tradition. He was also an outstanding draughtsman, and his graphic oeuvre randed from preliminary sketches to highly finished chiaroscuro sheets. Produced to accompany an exhibition celebrating the artist at the John and Mable Ringling Museum of Art in Sarasota, Florida, this magnificently illustrated book displays Veronese's extraordinary versatility and examines his artistic practice, concentrating on works from American and Canadian museums and private collections. For a sixteenth-century painter, many of whose works are in fresco or on enormous canvases still in situ, Veronese is unusually well represented in North America. At the same time, the broad spectrum of Veronese as a painter and draughtsman has not been available to American audiences in over two decades. This publication, with contributions by an international team of experts and focusing attention on little-known works as well as acknowledged masterpieces, constitutes a major contribution to Veronese studies."--jacket.
  • Paolo Caliari: a Veronese painter triumphant in Venice David Rosand
  • Veronese's training, methods, and shop practice Diana Gisolfi
  • Veronese and his patrons Blake de Maria
  • "Abiti gravi, abiti stravaganti": Veronese's creative approach to drapery Rembrandt Duits
  • Veronese's story of the eye Maria H. Loh
  • Veronese in America: collecting and taste Virginia Brilliant
  • The classical tradition: mythology and allegory Inge Reist
  • The portraiture of Veronese John Garton
  • The Bible and the lives of saints Virginia Brilliant
  • Altarpieces and heavenly visions Virginia Brilliant
  • The rest on the flight to Egypt Virginia Brilliant
  • The baptism of Christ Frederick Ilchman
  • The death of Christ Frederick Ilchman
  • The drawings of Veronese John Marciari
  • Veronese and the reproductive print Jonathan Bober
  • "Like a mirror that shows his idea...": interaction in the Veronese workshop Stephen Gritt
  • Materials, technique, and the master's hand: the Seattle Venus and Adonis Nicholas Dorman and Katie Patton.
"Paolo Veronese (1528-1588) is recognized as one of the giants of Venetian Renaissance painting. His artistic production was richly varied, extending from imposing altarpieces to smaller religious paintings for private clients, from grand portraits to sensual episodes drawn from the classical tradition. He was also an outstanding draughtsman, and his graphic oeuvre randed from preliminary sketches to highly finished chiaroscuro sheets. Produced to accompany an exhibition celebrating the artist at the John and Mable Ringling Museum of Art in Sarasota, Florida, this magnificently illustrated book displays Veronese's extraordinary versatility and examines his artistic practice, concentrating on works from American and Canadian museums and private collections. For a sixteenth-century painter, many of whose works are in fresco or on enormous canvases still in situ, Veronese is unusually well represented in North America. At the same time, the broad spectrum of Veronese as a painter and draughtsman has not been available to American audiences in over two decades. This publication, with contributions by an international team of experts and focusing attention on little-known works as well as acknowledged masterpieces, constitutes a major contribution to Veronese studies."--jacket.
Art & Architecture Library
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Stacks
ND623 .V5 A4 2012 Unknown
Book
xiv, 202 p. : ill ; 24 cm.
  • Introduction
  • English portraiture in context
  • Locating the public
  • Provincial painters
  • Painters' resources: material and cultural
  • Heraldry and portraiture
  • The provincial vocabulary: 'props' and their meaning
  • Varieties of regional experience
  • Conclusion.
  • Introduction
  • English portraiture in context
  • Locating the public
  • Provincial painters
  • Painters' resources: material and cultural
  • Heraldry and portraiture
  • The provincial vocabulary: 'props' and their meaning
  • Varieties of regional experience
  • Conclusion.
Art & Architecture Library
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Stacks
ND1314.2 .T58 2012 Unknown
Book
316 p. : chiefly col. ill. ; 41 cm.
Art & Architecture Library
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Folio
ND1313.2 .R56 2012 FF Unknown
Book
176 p. : ill. (some col.) ; 25 cm.
Art & Architecture Library
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Stacks
ND673 .R9 A4 2012 Unknown
Book
viii, 181 p., [8] p. of plates : ill. (some col.) ; 23 cm.
Art & Architecture Library
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Stacks
ND623 .B9 F6713 2011 Unknown
Book
xxxi, 368 p. : ill. (some col.) ; 24 cm.
Art & Architecture Library
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Art & Architecture Library Status
Stacks
ND1353.2 .P39 2011 Unknown
Book
244 p. : col. ill., col. map ; 29 cm.
Art & Architecture Library
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Art & Architecture Library Status
Stacks
ND615 .R46 2011 Unknown
Book
345 p. : ill. (some col.), ports. (chiefly col.) ; 26 cm.
This is the first monograph to place Willem Key and his oeuvre in a historical framework. It demonstrates why the nobility, including the Duke of Alba and Cardinal Granvelle, considered him the best portrait painter of his day and why leading humanists viewed his many history paintings as eloquent visualizations of contemporary art theory. The reason why Willem Key's peers regarded him as such an exceptional painter lay in his creative ability to do battle on an uneven playing field with the artists who had been to Italy. In his reconciliation of the Netherlandish tradition with the rapidly advancing Italian manner, Key grasped the spirit of the Renaissance as formulated by Alberti. The quintessence of Key's art inspired numerous artists in his own time and later, including the grandmaster of the Baroque, Pieter Paul Rubens.
This is the first monograph to place Willem Key and his oeuvre in a historical framework. It demonstrates why the nobility, including the Duke of Alba and Cardinal Granvelle, considered him the best portrait painter of his day and why leading humanists viewed his many history paintings as eloquent visualizations of contemporary art theory. The reason why Willem Key's peers regarded him as such an exceptional painter lay in his creative ability to do battle on an uneven playing field with the artists who had been to Italy. In his reconciliation of the Netherlandish tradition with the rapidly advancing Italian manner, Key grasped the spirit of the Renaissance as formulated by Alberti. The quintessence of Key's art inspired numerous artists in his own time and later, including the grandmaster of the Baroque, Pieter Paul Rubens.
Art & Architecture Library
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Art & Architecture Library Status
Stacks
ND673 .K397 J66 2011 Unknown

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