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
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)
Dutch, Art, Painting, Genre Painting, 17th-century, 18th-century.
(source: Nielsen Book Data)
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)
SAL3 (off-campus storage)
Book
139 pages : color illustrations ; 27 cm
Green Library

6. 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
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)
Book
31 pages : illustrations (chiefly color) ; 24
SAL3 (off-campus storage)
Book
xiii, 420 pages : illustrations (chiefly color) ; 29 cm
  • PART I MATERIAL PRACTICES -- PART 2 TUDOR AND JACOBEAN PAINTERS AND THEIR WORKSHOPS -- PART 3 PATRONAGE, MARKETS AND AUDIENCES.
  • (source: Nielsen Book Data)
This book is the first major essay volume in over a decade to focus on Tudor and Jacobean painting. Its interdisciplinary approach reflects the dynamic state of research in the field, utilising a range of methodologies in order to answer key art historical questions about the production and consumption of art in Britain in the 16th and early 17th century. The introduction sets the tone for the interdisciplinary approach that is taken throughout the volume .It brings together a discussion of the context for the production of painted images in Tudor and Jacobean England with a selection of technical images of twenty paintings that span the period and demonstrate the information that can be gained from material analysis of paintings. In further chapters, leading exponents of painting conservation and conservation science discuss the material practices of the period, using and explaining a range of analytical techniques, such as infrared reflectography and dendochronology. Questions of authorship and aspects of workshop practice are also discussed. As well as looking at specific artists and their studios, the authors take a broader view in order to capture information about the range of artistic production during the period, stretching from the production of medieval rood screens to the position of heraldic painters. The final section of the book addresses artistic patronage, from the commissioning of works by kings and courtiers, to the regional networks that developed during the period and the influence of a developing antiquarianism on the market for paintings. The book is lavishly illustrated in colour throughout, with reproductions of whole paintings and many details selected to amplify the text. It will be an essential source for those working in the fields of art history, conservation and material science, and of interest to lovers of British Tudor and Stuart painting.
(source: Nielsen Book Data)
Art & Architecture Library (Bowes)
Book
127 pages : illustrations (chiefly color), portraits (chiefly color) ; 25 cm
Art & Architecture Library (Bowes)
Book
337 pages : illustrations (chiefly color) ; 25 cm.
The book addresses the debates on Rembrandt, Metsu, Vermeer, and Hoogstraten that are currently taking place in art history and cultural studies. These focus mainly on the representation of gender difference, the relationship between text and image, and the emotional discourse. They are also an appeal for art history as a form of cultural studies that analyses the semantic potential of art within discursive and social contemporary practices.
(source: Nielsen Book Data)
Art & Architecture Library (Bowes)
Book
247 p. : ill. (some col.) ; 24 cm
SAL3 (off-campus storage)
Book
152 p. : ill. (chiefly col.) ; 27 cm
Art & Architecture Library (Bowes)
Book
167 pages : illustrations, maps ; 24 cm
Art & Architecture Library (Bowes)
Book
191 p. : ill. (chiefly col.) ; 28 cm
Green Library
Book
xix, 242 pages : illustrations (some color), portraits (some color) ; 27 cm.
  • Introduction : a taste for Dutch art / Peter C. Sutton
  • The early years : the formation of America's taste for Dutch art. "Pictures chiefly painted in oils, on boards" : Dutch paintings in colonial New York / Louisa Wood Ruby ; Robert Gilmor, Jr.'s "real" Dutch paintings / Lance Humphries ; Collecting old Dutch masters : originals, interpretations, copies, and reproductions / Annette Stott ; Wilhelm von Bode and collecting in America / Catherine B. Scallen
  • The gilded age : great collections and collectors of seventeenth-century Dutch art. Golden age paintings in the gilded age : New York collectors and the Metropolitan Museum of Art, 1870-1920 / Walter Liedtke ; "They leave us as they find us, they never elevate" : John G. Johnson and the Dutch masters / Lloyd DeWitt ; Collecting Vermeer, 1887-1919 / Esmée Quodbach ; Collecting Dutch paintings in Boston / Ronni Baer ; The Dutch painting collection at the National Gallery of Art / Arthur K. Wheelock, Jr.
  • The twentieth century : the dissemination of Dutch art across America and the Dutch reaction. The passionate eye of W.R. Valentiner : shaping the canon of Dutch painting in America / Dennis P. Weller ; Unexpected rivals for the Dutch : competing with the Americans for Holland's national heritage in Great Britain and elsewhere / Peter Hecht ; Golden opportunities : collecting Rembrandt in southern California / Anne T. Woollett ; Has the great age of collecting Dutch old master paintings come to an end? / Quentin Buvelot.
"Essays by American and Dutch scholars and museum curators explore the collecting and reception of seventeenth-century Dutch painting in America, from the colonial era through the Gilded Age to today"--Provided by publisher.
Art & Architecture Library (Bowes)
Book
504 pages : illustrations (some color), maps (some color) ; 30 cm
Art & Architecture Library (Bowes)
Book
499 p. : col. ill. ; 31 cm
  • Avant-propos / Éric Coatalem -- Méditations sur la peinture de nature morte en France au XVIIe siècle -- Le butin du temps... Les Vanités -- Dictionnaire des peintres travaillant en France au XVIIe siècle -- L'Apport substantiel du Nord -- Major Northern Influence -- OEuvres de comparaison de toutes écoles pouvant prêter à confusion -- Bibliographie sélective -- Table des illustrations.
"Le XVIIe siècle est le siècle de l'âge d'or de la nature morte française. Un panorama complet de ce genre subtil, souvent virtuose, sobre et empreint de méditation à ses débuts, ostentatoire et éclatant à son plein épanouissement, est dressé dans cet ouvrage. Une très riche iconographie illustre l'oeuvre de ses représentants les plus célèbres Jacques Linard, Louise Moillon, Sébastien Stoskopff, Jean-Baptiste Monnoyer, etc. comme celui d'artistes méconnus. Chaque peintre fait l'objet d'une notice biographique précise ; des essais introductifs d'Hilliard T. Goldfarb, conservateur en chef du musée des Beaux-Arts de Montréal, et d'Alexis Merle du Bourg, historien de l'art, plongent le lecteur au coeur du contexte historique et artistique qui a permis cette extraordinaire floraison. Un dictionnaire abondamment illustré des peintres étrangers de natures mortes aux XVIIe et XVIIIe siècles vient compléter ce panorama et permet d'établir des comparaisons avec les artistes actifs en France. Avec plus de cinq cents reproductions, dont de nombreux tableaux inédits conservés dans des collections privées, deux cents artistes répertoriés, le livre d'Éric Coatalem offre ainsi une somme de connaissances renouvelées et s'impose comme un ouvrage de référence. C'est le premier consacré à la nature morte française depuis l'ouvrage de Michel Faré paru en 1974."--P. [4] of cover.
Art & Architecture Library (Bowes)
Book
124 pages : illustrations (chiefly color) ; 22 cm
SAL3 (off-campus storage)
Book
349 pages : illustrations ; 28 cm
Art & Architecture Library (Bowes)

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