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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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Stacks
ND1432 .F57 J65 2014 Unknown
Book
viii, 376 p. : ill. (some col.), ports. ; 30 cm
Art & Architecture Library
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Art & Architecture Library Status
Stacks
ND565 .M48 2013 F Unknown
Book
316 p. : chiefly col. ill. ; 41 cm.
Art & Architecture Library
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Folio
ND1313.2 .R56 2012 FF Unknown
Book
342 pages : illustrations (chiefly color), color map ; 28 cm
Art & Architecture Library
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Stacks
N5964 .N4 R687 2012 Unknown
Book
128 p. : col. ill. ; 28 cm.
Art & Architecture Library
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Stacks
ND1432 .I8 N48 2011 Unknown
Book
244 p. : col. ill., col. map ; 29 cm.
Art & Architecture Library
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Stacks
ND615 .R46 2011 Unknown
Book
404 p. : ill. (chiefly col.), map ; 31 cm.
Art & Architecture Library
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ND645 .M37 2009 F Unknown
Book
xxi, 154 p. : ill. (chiefly col.), col. maps ; 26 cm.
  • Foreword
  • Genealogical tables, Coats of arms, Maps
  • Preface
  • Introduction
  • Painting A: The Ducal Lemantation
  • Painting B: The Procession of the Magi
  • Painting C: The Medici Virgin
  • Painting D: The Lamentation of Jean d'Auxy
  • Painting E: St Jerome and a Donor
  • Painting F: The Fountain of Grace
  • Painting G: The Adoration of the Magi.
The interpretation of paintings - especially of Old Masters - has occupied art historians for generations. Rarely however have they attempted to place the subject of their research in its wider political and international context. So what can we learn, for example, about the state of 15th-century Europe by studying some of the great paintings of the time? In this innovative work, Abolala Soudavar examines seven paintings by some of the great masters of the 15th century and demonstrates how we can better understand the state of international relations and the political rivalries of the time by decoding the figures, their postures and gestures, the background scenes, the compositions and much else in these paintings.The result offers some extraordinary solutions to long-standing puzzles, which illuminate both the paintings and our understanding of the period. By decoding these paintings, Soudavar has altered the landscape of our understanding of 15th-century Art and opened the door to a kind of political and historical analysis of high culture which will affect how we study the history of art in future generations.
(source: Nielsen Book Data)
  • Foreword
  • Genealogical tables, Coats of arms, Maps
  • Preface
  • Introduction
  • Painting A: The Ducal Lemantation
  • Painting B: The Procession of the Magi
  • Painting C: The Medici Virgin
  • Painting D: The Lamentation of Jean d'Auxy
  • Painting E: St Jerome and a Donor
  • Painting F: The Fountain of Grace
  • Painting G: The Adoration of the Magi.
The interpretation of paintings - especially of Old Masters - has occupied art historians for generations. Rarely however have they attempted to place the subject of their research in its wider political and international context. So what can we learn, for example, about the state of 15th-century Europe by studying some of the great paintings of the time? In this innovative work, Abolala Soudavar examines seven paintings by some of the great masters of the 15th century and demonstrates how we can better understand the state of international relations and the political rivalries of the time by decoding the figures, their postures and gestures, the background scenes, the compositions and much else in these paintings.The result offers some extraordinary solutions to long-standing puzzles, which illuminate both the paintings and our understanding of the period. By decoding these paintings, Soudavar has altered the landscape of our understanding of 15th-century Art and opened the door to a kind of political and historical analysis of high culture which will affect how we study the history of art in future generations.
(source: Nielsen Book Data)
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Stacks
ND454 .S68 2008 Unknown
Book
178 p. : ill. (some col.) ; 29 cm. + 1 CD-ROM (4 3/4 in.), 1 folded illustration.
Art & Architecture Library
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ND673 .G6 K67 2008 Unknown
Book
464 p. : ill. (chiefly col.) ; 26 cm.
This study provides the first exhaustive description of the materials, techniques and studio practices of Lucas Cranach the Elder (c. 1472-1553). Heydenreich draws on detailed technical examination of Cranach's paintings, as well as analysis of documentary sources, to explain the characteristic elements of more than three hunderd of Cranach's paintings. Furthermore, the author documents the breadth and diversity of Lucas Cranach the Elder's unique contribution to 16th-century German canvas painting. The importance of this almost forgotten part of the court painter's oeuvre is completely reassessed. In the process, the author provides unprecedented insight into the material and technical history of Renaissance painting in Germany. There is no similar recent publication on Cranach available -- the last monograph on the painter was published in 1974.
(source: Nielsen Book Data)
This study provides the first exhaustive description of the materials, techniques and studio practices of Lucas Cranach the Elder (c. 1472-1553). Heydenreich draws on detailed technical examination of Cranach's paintings, as well as analysis of documentary sources, to explain the characteristic elements of more than three hunderd of Cranach's paintings. Furthermore, the author documents the breadth and diversity of Lucas Cranach the Elder's unique contribution to 16th-century German canvas painting. The importance of this almost forgotten part of the court painter's oeuvre is completely reassessed. In the process, the author provides unprecedented insight into the material and technical history of Renaissance painting in Germany. There is no similar recent publication on Cranach available -- the last monograph on the painter was published in 1974.
(source: Nielsen Book Data)
Art & Architecture Library
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Stacks
ND588 .C8 H49 2007 Unknown
Book
255 p. : ill. (some col.) ; 26 cm.
Art & Architecture Library
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ND635 .E87 2006 Unknown
Book
xi, 339 p. : ill. (chiefly col.) ; 33 cm.
The diptych, comprising two hinged panels that can be opened and closed like a book, was prevalent in Netherlandish art and depicted subjects ranging from secular portraiture to religious personages and stories. This lavishly illustrated book, the first ever to examine this painting format, examines approximately forty Netherlandish diptychs from the 15th and 16th centuries. Featuring magnificent works by Jan van Eyck, Rogier van der Weyden, Hans Memling, and Hugo van der Goes, among others, the book covers a wide variety of topics, including painting techniques, workshop practice, and the art market in the Netherlands of the time. With fascinating discussions on each of the featured paintings, "Prayers and Portraits" reunites a number of diptychs that have long been separated. Essays examine the works in context of contemporary texts and religious practices in northern Europe, incorporating new technical information and research. They also offer invaluable insights into the social status and aspirations of the sitters.
(source: Nielsen Book Data)
The diptych, comprising two hinged panels that can be opened and closed like a book, was prevalent in Netherlandish art and depicted subjects ranging from secular portraiture to religious personages and stories. This lavishly illustrated book, the first ever to examine this painting format, examines approximately forty Netherlandish diptychs from the 15th and 16th centuries. Featuring magnificent works by Jan van Eyck, Rogier van der Weyden, Hans Memling, and Hugo van der Goes, among others, the book covers a wide variety of topics, including painting techniques, workshop practice, and the art market in the Netherlands of the time. With fascinating discussions on each of the featured paintings, "Prayers and Portraits" reunites a number of diptychs that have long been separated. Essays examine the works in context of contemporary texts and religious practices in northern Europe, incorporating new technical information and research. They also offer invaluable insights into the social status and aspirations of the sitters.
(source: Nielsen Book Data)
Art & Architecture Library
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Stacks
ND635 .H36 2006 F Unknown
Book
xvi, 347 p. : ill. (some col.), maps ; 32 cm.
Art & Architecture Library
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ND565 .N38 2005 Unknown
Book
x, 481 p. : ill.
An illustrated scholarly analysis of the art and the cultural interpretations of the Flemish Primitives.
(source: Nielsen Book Data)
An illustrated scholarly analysis of the art and the cultural interpretations of the Flemish Primitives.
(source: Nielsen Book Data)
Book
x, 481 p. : ill. (some col.) ; 25 cm.
  • Objects and questions / Bernhard Ridderbos
  • Collecting early Netherlandish paintings in Europe and the United States / Till-Holger Borchert
  • From Waagen to Friedl̈̈änder / Bernhard Ridderbos
  • Realism, Renaissance and nationalism / Wessel Krul --Technical examination / Jeltje Dijkstra
  • The corpus of fifteenth-century painting in the Southern Netherlands and the principality of Liège / Henri Pauwels
  • Patronage / Maximiliaan P.J. Martens
  • Iconography and iconology / Craig Harbison.
In the fifteenth century, a number of master painters, including Jan van Eyck and Roger Campin, flourished in the Netherlands. However, by the early nineteenth century many of their works had been dispersed by the upheavals of the French Revolution. Any contemporary understanding of these artists and their paintings must take into account that historical data about them remains fragmentary and that art historians from different disciplines have approached them in varying ways. Rather than offering a chronological discussion, this book presents early Netherlandish paintings as individual objects that have confronted scholars with countless interpretive challenges. Part One analyzes the style and provenance of each work, the insights gained from it, and the questions that remain, while Part Two is devoted to the history of collecting and of art historical research and interpretation during the nineteenth and first half of the twentieth century. Part Three addresses how three fields of modern art-historical research - technical examination, archival research into patronage, and iconology - have produced analyses of these artworks. "Early Netherlandish Painting" advances the scholarly dialogue about an important period in European art by assembling the current scholarly research in the field and underscoring the common ground among scholars from different disciplines.
(source: Nielsen Book Data)
  • Objects and questions / Bernhard Ridderbos
  • Collecting early Netherlandish paintings in Europe and the United States / Till-Holger Borchert
  • From Waagen to Friedl̈̈änder / Bernhard Ridderbos
  • Realism, Renaissance and nationalism / Wessel Krul --Technical examination / Jeltje Dijkstra
  • The corpus of fifteenth-century painting in the Southern Netherlands and the principality of Liège / Henri Pauwels
  • Patronage / Maximiliaan P.J. Martens
  • Iconography and iconology / Craig Harbison.
In the fifteenth century, a number of master painters, including Jan van Eyck and Roger Campin, flourished in the Netherlands. However, by the early nineteenth century many of their works had been dispersed by the upheavals of the French Revolution. Any contemporary understanding of these artists and their paintings must take into account that historical data about them remains fragmentary and that art historians from different disciplines have approached them in varying ways. Rather than offering a chronological discussion, this book presents early Netherlandish paintings as individual objects that have confronted scholars with countless interpretive challenges. Part One analyzes the style and provenance of each work, the insights gained from it, and the questions that remain, while Part Two is devoted to the history of collecting and of art historical research and interpretation during the nineteenth and first half of the twentieth century. Part Three addresses how three fields of modern art-historical research - technical examination, archival research into patronage, and iconology - have produced analyses of these artworks. "Early Netherlandish Painting" advances the scholarly dialogue about an important period in European art by assembling the current scholarly research in the field and underscoring the common ground among scholars from different disciplines.
(source: Nielsen Book Data)
Art & Architecture Library
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ND635 .O4513 2005 Unknown
Book
155 p., 64 p. of col. plates : ill. (some col.) ; 25 cm.
Interest in fifteenth century French painting has grown considerably since it was originally revived by the exhibition "Primitifs francais" (French Primitives) a century ago. Forgotten personalities (Barthelemy d'Eyck, Andre d'Ypres, Antoine de Lonhy, Jean Hey, Jean Poyer, etc.) have been rediscovered, and there is renewed study of the activity of several interrelated artistic centres. This highly complex artistic geography is precisely what this study endeavours to map. The book is arranged in three parts. The first examines the interaction between the French courts and Paris in the period of International Gothic (1380-1435). The second explains how the ars nova (the Flemish illusionist style) spread and was selectively assimilated in France in the days of Charles VII and Louis XI (1435-1483). The third underlines the consolidation of a specifically French style based on Jean Fouquet's model and developed concurrently with the great rhetoricians under Charles VIII and Louis XII (1483-1515).
(source: Nielsen Book Data)
Interest in fifteenth century French painting has grown considerably since it was originally revived by the exhibition "Primitifs francais" (French Primitives) a century ago. Forgotten personalities (Barthelemy d'Eyck, Andre d'Ypres, Antoine de Lonhy, Jean Hey, Jean Poyer, etc.) have been rediscovered, and there is renewed study of the activity of several interrelated artistic centres. This highly complex artistic geography is precisely what this study endeavours to map. The book is arranged in three parts. The first examines the interaction between the French courts and Paris in the period of International Gothic (1380-1435). The second explains how the ars nova (the Flemish illusionist style) spread and was selectively assimilated in France in the days of Charles VII and Louis XI (1435-1483). The third underlines the consolidation of a specifically French style based on Jean Fouquet's model and developed concurrently with the great rhetoricians under Charles VIII and Louis XII (1483-1515).
(source: Nielsen Book Data)
Art & Architecture Library
Status of items at Art & Architecture Library
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Stacks
ND545 .E45 2004 Unknown
Book
205 p. : ill. (some col.) ; 32 cm.
Art & Architecture Library
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Art & Architecture Library Status
Stacks
ND615 .D3 1999 F Unknown
Book
175 p. : ill. (some col.) ; 27 cm.
Art & Architecture Library
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Art & Architecture Library Status
Stacks
ND634 .K68 1999 Unknown
Book
464 p. : ill. (some col.) ; 30 cm.
Art & Architecture Library
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Art & Architecture Library Status
Stacks
ND635 .N368 1998 F Unknown

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