Book
344 pages : illustrations (some color) ; 25 cm.
  • List of images, figures, and tables[-]Introduction[-][-]Part I: Publishing[-] 1580-1610: Window of Opportunity[-] 1610-1650: Buzz and Pipelines[-] 1650-1800: Mature Markets[-][-]Part II: Painting[-]1580-1610: Window of Opportunity[-] 1610-1650: Unlocking Potential[-] 1610-1650: Buzz and Pipelines[-] 1650-1800: Mature Markets[-][-]Conclusion[-][-]Appendix I[-][-][-]Bibliography[-][-][-]Index (people) [-][-].
  • (source: Nielsen Book Data)9789089647023 20170206
Dutch Golden Age - Economic History - Art Market - Publishing - Economic Geography.
(source: Nielsen Book Data)9789089647023 20170206
Art & Architecture Library (Bowes)

2. After Caravaggio [2016]

Book
ix, 221 pages : color illustrations ; 27 cm
  • Introduction
  • Singularities
  • Toward a post-Caravaggio pictorial poetics
  • An almost unknown masterpiece: Cecco del Caravaggio's 'Resurrection'
  • Guercino's anni mirabiles, 1619-1620
  • Coda: after 1630.
A revelatory study of a school of remarkable painters from one of the great art historians of the 20th century During the twenty years following Caravaggio's death, his revolutionary precedent inspired the creation of a remarkable body of paintings. Drawing together works by Bartolomeo Manfredi, Valentin de Boulogne, Nicolas Tournier, Nicolas Regnier, Cecco del Caravaggio, and the young Jusepe de Ribera, Michael Fried examines the nature of this later generation's engagement with Caravaggio. The magnitude and interest of their achievements have long been recognized, but existing scholarship has touched only the surface. Fried approaches his topic with seriousness and sophistication, revealing the density of meaning and sheer pictorial ambition in the works of the painters known as the Caravaggisti. Accessibly written, this beautifully illustrated book combines an account of works by Manfredi, Valentin, Tournier, Regnier, and Ribera with a detailed case study of Cecco del Caravaggio's Resurrection (1619-20), and concludes by surveying a group of paintings by Guercino, a painter not counted among the Caravaggisti, but whose strategies in relation to the viewer aligned him with their interests. Fried moves with agility between broad and focused fields of vision. In his final remarks, he makes a compelling case for understanding these paintings in relation to the thought of Rene Descartes.
(source: Nielsen Book Data)9780300218640 20160906
Art & Architecture Library (Bowes)

3. Beyond Caravaggio [2016]

Book
208 pages : color illustrations ; 29 cm
A fascinating examination of Caravaggio and others who adopted his dramatic style of painting The Italian painter known as Caravaggio (1571-1610) claims a place among the most revolutionary figures in the history of art. His intense naturalism, almost brutal realism, and dramatic use of light had a wide impact on European painters, including Orazio Gentileschi, Valentin de Boulogne, and Gerrit van Honthorst. Each of Caravaggio's followers absorbed something different from his work, propagating his stylistic legacy across Europe. In this extensively illustrated catalogue, Letizia Treves introduces the international Caravaggesque movement and traces the distinct artistic personalities of its leading players. Even now, Caravaggio's name overshadows the other talented artists who adopted his approach to narrative painting: the use of theatrical lighting to illuminate a story encapsulated in a single, dramatic moment. Treves explains the innovative and unifying features of these painters' work and how, despite resistance to their style and subject matter, many outstanding Caravaggesque pictures found their way into important collections.
(source: Nielsen Book Data)9781857096026 20161213
Art & Architecture Library (Bowes)
Book
222 pages : illustrations (chiefly color) ; 29 cm
Art & Architecture Library (Bowes)
Book
155 pages : illustrations (chiefly color) ; 31 cm
Art & Architecture Library (Bowes)
Book
290 pages ; 24 cm
"In 1631, Sara de Vos is admitted as a master painter to the Guild of St. Luke's in Holland, the first woman to be so recognized. Three hundred years later, only one work attributed to de Vos is known to remain--a haunting winter scene, At the Edge of a Wood, which hangs over the bed of a wealthy descendant of the original owner. An Australian grad student, Ellie Shipley, struggling to stay afloat in New York, agrees to paint a forgery of the landscape, a decision that will haunt her. Because now, half a century later, she's curating an exhibit of female Dutch painters, and both versions threaten to arrive. As the three threads intersect, The Last Painting of Sara de Vos mesmerizes while it grapples with the demands of the artistic life, showing how the deceits of the past can forge the present."-- Provided by publisher.
Green Library
Book
223 pages : illustrations (chiefly color) ; 29 cm
Art & Architecture Library (Bowes)
Book
xv, 574 pages : color illustrations ; 34 cm
Art & Architecture Library (Bowes)
Book
287 pages : illustrations (chiefly color) ; 29 cm
In his joint capacities of Premier peintre du roi, director of the Gobelins manufactory and rector of the Academie royale de peinture et de sculpture, Le Brun exercised a previously unprecedented influence on the production of the visual arts - so much so that some scholars have repeatedly described him as 'dictator' of the arts in France. The Sovereign Artist explores how Le Brun operated in his diverse fields of activities, linking and juxtaposing his portraiture, history painting and pictorial theory with his designs for architecture, tapestries, carpets and furniture. It argues that Le Brun sought to create a repeatable and easily recognizable visual language associated with Louis XIV, in order to translate the king's political claims for absolute power into a visual form. How he did this is discussed through a series of individual case studies ranging from Le Brun's lost equestrian portrait of Louis XIV, and his involvement in the Querelle du coloris at the Academie, to his scheme for 93 Savonnerie carpets for the Grande Galerie at the Louvre, his Histoire du roy tapestry series, his decoration of the now destroyed Escalier des Ambassadeurs at Versailles and the dramatic destruction of the Sun King's silver furniture. One key theme is the relation between the unity of the visual arts, to which Le Brun aspired, and the strong hierarchical distinctions he made between the liberal arts and the mechanical crafts: while his lectures at the Academie advocated a visual and conceptual unity in painting and architecture, they were also a means by which he attempted to secure the newly gained status of painting as a liberal art, and therefore to distinguish it from the mechanical crafts which he oversaw the production of at the Gobelins. His artistic and architectural aspirations were comparable to those of his Roman contemporary Gianlorenzo Bernini, summoned to Paris in 1665 to design the Louvre's East facade and to create a portrait bust of Louis XIV. Bernini's failure to convince the king and Colbert of his architectural scheme offered new opportunities for Le Brun and his French contemporaries to prove themselves capable of solving the architectural problems of the Louvre and to transform it into a palace appropriate "to the grandeur and the magnificence of the prince who [was] to inhabit it" (Jean-Baptiste Colbert to Nicolas Poussin in 1664). The comparison between Le Brun and Bernini not only illustrates how France sought artistic supremacy over Italy during the second half of the 17th century, but further helps to demonstrate how Le Brun himself wanted to be perceived: beyond acting as a translator of the king's artistic ambition, the artist appears to have sought his own sovereign authority over the visual arts.
(source: Nielsen Book Data)9781911300052 20170306
Art & Architecture Library (Bowes)
Book
207 pages : color illustrations ; 31 cm
Handsomely designed and produced, this stunning book highlights sensual paintings from the Spanish royal collections of the Museo Nacional del Prado, Madrid. Many of the featured artists were court painters under sovereigns whose tastes influenced the art world of the 16th and 17th centuries. This superb selection of twenty-eight paintings includes works by Jan Breughel, Guercino, Peter Paul Rubens, Titian, and Diego Velazquez. Included is Titian's Reclining Venus with Cupid and a Musician, probably painted by the artist for Charles V, and several works by Rubens, who painted a considerable number of works for the Spanish court. Informative catalogue entries accompany an essay by Javier Portus on the Spanish royal taste in collecting and the role of painting within European politics of the day and a contemporary response to understanding the nude in Renaissance and Baroque painting by Jill Burke.
(source: Nielsen Book Data)9780300218749 20161128
Art & Architecture Library (Bowes)
Book
184 pages : illustrations (chiefly color) ; 26 cm
  • 1 Introduction[-]What, how and why[-]Patrons and their wishes[-]Artists and their choices[-]Art historians and their problems [-]2 Large-scale paintings: how it began[-] The international standard[-]Dutch rebellion[-]3 Small-scale paintings: how it began [-] Collectibles from Italy and Antwerp [-] Dutch cabinet paintings: Lastman [-] Landscape or background?[-] Dutch cabinet paintings: Rembrandt, Lievens [-]4 Large-scale paintings: back to normal [-] For connoisseurs and clerics [-] In the periphery of the court [-] For citizens of substance [-]5 Large-scale paintings: baroque attempts [-] Rubens' religious and political propaganda[-] Light and dark and drama [-] Rembrandt's theatre of horrors [-]6 Small-scale paintings: beyond baroque [-] Rembrandt in the 'forties-- his followers [-] Three pupils [-] Some more pupils and followers[-]7 Monumental canvases for public buildings [-] Huis ten Bosch Palace [-] The drapers' hall of Leiden[-] The assembly hall of the States of Holland [-] Amsterdam's new town hall [-]8 Large-scale paintings: the second half of the century[-] Specialists and non-specialists [-] Monumental art for the private home [-] War and peace, justice and politics [-]9 Small-scale paintings: the last quarter of the century[-] Between history and genre painting [-]10 Exceptions[-] Four outsiders [-]11 Concluding remarks[-] The end?[-] Left out[-] The canon [-][-].
  • (source: Nielsen Book Data)9789462981478 20161114
Narrative painting [-]Style (mannerism, baroque, classicism)[-].
(source: Nielsen Book Data)9789462981478 20161114
SAL3 (off-campus storage)
Book
3 volumes : illustrations (some color) ; 32 cm
  • I. A-C
  • II. D-Pal
  • III. Pan-Z.
Art & Architecture Library (Bowes)
Book
230 pages : illustrations (some color) ; 27 cm.
  • Introduction[-]Chapter 1. Confronting the Heritage of the Golden Age: The Situation around Dutch Genre Painting 1680-1750[-]Chapter 2. Reproducing the Golden Age: Copies after Seventeenth-Century Dutch Genre Painting in the First Half of the Eighteenth Century[-]Chapter 3. Emulating the Golden Age: The Painter?s Choice of Motifs and Subject Matter in Dutch Genre Painting of the First Half of the Eighteenth Century[-]Chapter 4. Ennobling Daily Life: A Question of Refinement in Early Eighteenth-Century Dutch Genre Painting[-]Epilogue[-]Appendix[-]Catalogue: Painters 1680-1750 [-]Notes[-]Bibliography.
  • (source: Nielsen Book Data)9789089645685 20160618
Dutch, Art, Painting, Genre Painting, 17th-century, 18th-century.
(source: Nielsen Book Data)9789089645685 20160618
Art & Architecture Library (Bowes)
Book
127 pages : color illustrations ; 28 cm
Art & Architecture Library (Bowes)
Book
289 pages : illustrations (chiefly color) ; 29 cm.
Art & Architecture Library (Bowes)
Book
96 pages : illustrations (chiefly color) ; 18 x 19 cm
Italian Baroque painting is often discussed in terms of theatre and the creation of powerful visual spectacle through the dramatic use of light. Seventeenth-century painters pushed the limits of artistic expression to reshape the relationship between the illusionistic image and its audience with contrasting styles, new techniques, and by deploying extraordinary optical effects. Featuring some of Canada's foremost Baroque paintings, "Illuminations" examines how the functional and symbolic representation of light was the expression of a culture captivated by theatrical display. Set in the context of Italy's dynamic and international cultural capitals, "Illuminations" compares and contrasts religious, mythological, and popular imagery. Through a detailed examination of works by Nicolas Poussain, Luca Giordano, Orazio Gentileschi and Guido Reni amongst others, the book explores how 17th-century audiences were confronted with pictures that frequently broke conventions by manipulating the sources and meaning of light, while depicting all types of subjects; painters were able to transform light, controlling its role as a signifier of demeanour, emotion, or religious symbolism. The use of light coloured the historical legends and social mythologies of this extravagant world.
(source: Nielsen Book Data)9781907804571 20160618
SAL3 (off-campus storage)
Book
139 pages : color illustrations ; 27 cm
Green Library

18. Nicolas Poussin [2015]

Book
2 v. (xxv, 688 p.) : ill. (chiefly col.) ; 30 cm.
  • Préface / Nicolas Milovanovic -- Introduction / Serge Lemoine -- Chronologie des travaux de Jacques Thuillier -- Vie de Nicolas Poussin (1988) -- Avant-propos -- Avertissement bibliographique -- Remerciements -- Arbres généalogiques -- Vie de Nicolas Poussin -- L'enfance et la vocation : 1594-1612 -- L'apprentissage : 1612-1624 -- L'aventure romaine : 1624-1630 -- "Monsù Possino, Pittore francese" : 1630-1640 -- L'intermède français : 1640-1642 -- La maturité : 1642-1657 -- La vieillesse et la mort : 1657-1665 -- Nicolas Poussin (1994) -- Les paradoxes de Poussin -- Poussin, peintre français ou peintre romain ? -- Poussin, peintre savant ? -- Poussin, peintre philosophe ? -- Poussin entre pensée et peinture -- La technique de Poussin -- Du dessein au dessin -- La mise en scène -- La réalisation du tableau -- Diversité de Poussin -- Poussin et son milieu -- Le contexte d'une vie -- Le contexte d'un art -- Poussin et l'argent -- Biographie -- Jeunesse et formation : 1594-1612 -- Les années d'apprentissage : 1613-1623 -- La conquête de Rome : 1624-1630 -- Les belles années romaines : 1630-1640 -- L'intermède parisien : décembre 1640-octobre 1642 -- La maturité : 1642-1657 -- Le déclin et la mort -- La fortune critique -- La renommée de l'artiste vivant : 1627-1665 -- La fin du XVIIe siècle : 1665-1700 -- Le XVIIIe et le XIXe siècle -- Le XXe siècle -- Premiers articles (1961-1966) -- Nicolas Poussin et son temps (1961) -- À propos de l'exposition de Rouen "Poussin et son temps" la Victoire de Gédéon du Vatican (1961) -- L'année Poussin (1961) -- Poussin : Lost masterworks discovered (1961) -- Un nouveau dessin de Poussin pour Marino ? (1962) -- Poussin : the greatest French painter reconsidered (1965) -- Introduzione à Nicolas Poussin (1969) -- (Texte en italien) -- Articles de 1976 à 1995 -- Poussin et le paysage tragique. L'Orage Pointel au musée des Beaux-Arts de Rouen (1976) -- Poussin, peintre français ou peintre romain ? (1977) -- Monsù Possino (1977) -- Poussin et le laboratoire (1994) -- Serisier collectionneur et la Fuite en Égypte de Poussin (1994) -- Poussin et Dieu (1994) -- Poussin, quatrième centenaire (1995) -- Corpus des textes du XVIIe siècle (1994) -- Avant la gloire -- L'aventure parisienne : 1639-1643 -- "Monsieur le Poussin" : 1643-1666 -- De la mort à la biographie de Bellori : 1666-1672 -- De Bellori à Félibien : 1672-1685 -- La fin du siècle : 1685-1700 -- Catalogue des peintures (1994) -- Couleurs, formes et poésie : quelques repères chronologiques dans un long itinéraire -- Introduction à la liste chronologique des peintures de Poussin -- Première période. Avant Rome : 1612-1624 -- Deuxième période. Les premières années romaines : 1624-1630 -- Troisième période. L'épanouissement romain : 1631-1640 -- Quatrième période. L'épisode parisien : 1641-1642 -- Cinquième période. Les années de maturité : 1643-1652 -- Sixième période. La vieillesse du génie : 1652-1665 -- Autres oeuvres données à Poussin -- Poussin before Rome (1995) -- Introduction -- Catalogue : Works attributable to Poussin to the Age of Thirty
  • Autres documents -- La jeunesse de Poussin : deux documents inconnus (1994) -- Tableaux attribués à Poussin dans les archives révolutionnaires (1960) -- Sur la correspondance -- Poussin : "J'ai quitté les pinceaux pour toujours" (1981) -- Notes sur la correspondance (1989, 2008, 2009) -- Archives Jacques Thuillier -- Note sur les archives et les collections de Jacques Thuillier -- Fiction (extraits d'un journal romancé sur Poussin, 1953) -- Poussin et la poésie (1994 ?) -- L'image décapée du peintre : entretien dans le journal Le Monde (1994) -- Lettres à Jacques Thuillier (1988, 1994).
"Nicolas Poussin est reconnu comme le plus admirable des peintres français du XVIIe siècle. La suite très riche d'illustrations de ces deux tomes atteste de la splendeur de son oeuvre : paysages, compositions allégoriques, sujets mythologiques où l'érotisme tient une place importante, tableaux religieux et historiques. L'historien de l'art Jacques Thuillier a consacré sa vie à l'étude de Poussin et à la redécouverte de son oeuvre. Ses textes, écrits au long de cinquante années de travail, sont tous réunis ici : les études sur les tableaux redécouverts de l'artiste et sur les différentes périodes de sa carrière, l'analyse de ses théories artistiques et de sa philosophie, sa biographie et le catalogue raisonné de son oeuvre. La clarté et l'élégance de l'écriture de Jacques Thuilllier, la sensibilité et la profondeur de sa réflexion viennent enrichir une magistrale leçon d'histoire de l'art, qui apprend à déchiffrer rceuvre et à le faire aimer. Jacques Thuillier approche au plus près la pensée créatrice de Nicolas Poussin et vient révéler qu'il fut à la fois un peintre et un poète. Ces deux tomes, préfacés par Nicolas Milovanovic, sont édités sous la direction de Serge Lemoine."--P. [4] of cover.
Art & Architecture Library (Bowes)
Book
173 pages : color illustrations, portraits ; 30 cm
Art & Architecture Library (Bowes)
Book
340 pages : illustrations (some color), portraits ; 29 cm.
  • Introduction
  • An overview of Sweerts' career and his paintings of artists at work
  • The emergence of the academy in Italy
  • Karel van Mander and the early Netherlandish academic tradition
  • Sweerts and the academy in the second half of the seventeenth century
  • Sweerts in art historical scholarship
  • Sweerts in the southern Netherlands
  • Early modern academic traditions and Classicism in the Netherlands
  • Chapters
  • Sweerts and a Brussels artistic tradition
  • Brussels in perspective: a brief history
  • The artistic fabric of the Brussels court
  • Wenzel Coebergher and the Italian tradition
  • The classical tradition in the sixteenth-century Netherlands
  • Theodoor van Loon: a Brussels 'Apelles'
  • Beyond Brussels: Sweerts and Jacob van Oost the Elder
  • The tradition of Brussels tapestry: its artistic and economic importance
  • Sweerts and the Duets family: textiles, art and patronage
  • Sweerts' merchant patrons
  • Roman beginnings
  • Sweerts' arrival in Rome
  • The Italian academic tradition and the first academies of art
  • The Carracci academy and Fialetti's didactic drawing book
  • The founding of the Accademia di San Luca and the role of Federico Zuccaro
  • The pedagogical program at the Accademia di San Luca
  • Sweerts and the Academia di San Luca
  • François Duquesnoy, Nicholas Poussin and the patronage of the Pamphilj
  • Duquesnoy's pursuit of the antique and his friendship with Poussin
  • Sweerts' representation of Duquesnoy's sculpture in the studio
  • Sweerts and the circle of artists around Camillo Pamphilj
  • Sweerts and Poussin: images of plague
  • Sweerts and a Pamphilj Academy
  • Sweerts' drawing academy, tapestry and Brussels in the 1650s
  • 'Een accademie van die teeckeninge naer het leven'
  • Netherlandish academic models
  • Sweerts' academic paintings and etchings in Brussels
  • Sweerts' drawing book: 'diverse faces for the use by young and others' --- The academy at mid-century
  • Brussels and southern Netherlands in the second half of the seventeenth century
  • Leopold Wilhelm as Patron and David Teniers II's role at court
  • Sweerts' Academy and Brussels tapestry in the 1650s
  • David Teniers II and the beginnings of an academy of art in Antwerp
  • The rise of academicism in the Netherlands in the late seventeenth and early eighteenth centuries.
This book examines the career of the Brussels artist Michael Sweerts through an examination of the artistic, intellectual and cultural contexts that shaped his work and academy in the Netherlands and Italy in the seventeenth century. The Flemish artist Michael Sweerts has long been considered one of the most fascinating and enigmatic painters of the seventeenth century. His peripatetic career, which stretched from his native Brussels to Rome, and later Amsterdam and the Far East, included work for the papal family and the foundation of a drawing academy in the Southern Netherlands. Despite this rich and varied career, Sweerts has yet to be fully examined within the artistic, intellectual and cultural contexts of Brussels and Rome in the seventeenth century. This book aims to retrace the artistic traditions that shaped Sweerts' development and evolution as a painter, etcher and teacher, firmly situating him at the crossroads of artistic exchange between the Netherlands and Italy. The author demonstrates how Sweerts responded to contemporary notions of artistic practice and pedagogy in his work, and how he played a critical role in the formation of a Netherlandish academic tradition.
Art & Architecture Library (Bowes)

Looking for different results?

Modify your search: Remove limit(s) Search all fields

Search elsewhere: Search WorldCat Search library website