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Jan Van Imschoot
A comprehensive overview of the oeuvre of Belgian painter Jan Van Imschoot A comprehensive overview of the oeuvre of Belgian painter Jan Van Imschoot (b. 1963), whose contemporary work builds bridges to predecessors such as Caravaggio, Tintoretto, Goya, and Manet. Van Imschoot's painting consciously opts for a clear, sometimes contradictory and ironic style. The directness of his decisive brushwork and his balanced yet audacious use of color is strikingly contemporary, while his work draws on historical themes from literature and art history. In this way, Van Imschoot engages in a continuous dialogue with the past, in which he, with a dose of cynicism, often targets phenomena or figures that find themselves on the fringes of (contemporary) society. Bringing together more than 220 works by Van Imschoot with five accompanying texts, this book gives fresh insight into the painting practice of this Belgian master.
The Primacy of the Image in Northern European Art, 1400–1700
An anthology of 42 essays by distinguished scholars on current research and methodology in the art history of the late medieval and early modern periods in Germany, France, the Netherlands, and Belgium, written in tribute to Larry Silver, Farquhar Professor of the History of Art at the University of Pennsylvania.
Jesuit Art
In Jesuit Art, Mia Mochizuki considers the artistic production of the pre-suppression Society of Jesus (1540–1773) from a global perspective. Geographic and medial expansion of the standard corpus changes not only the objects under analysis, it also affects the kinds of queries that arise. Mochizuki draws upon masterpieces and material culture from around the world to assess the signature structural innovations pioneered by Jesuits in the history of the image. When the question of a ‘Jesuit style’ is rehabilitated as an inquiry into sources for a spectrum of works, the Society’s investment in the functional potential of illustrated books reveals the traits that would come to define the modern image as internally networked, technologically defined, and innately subjective.
Formes Du Salut
Formes du salut invite à la découverte de sept sculptures et d'un panneau peint en provenance de l’abbaye de Val Duchesse. Ces œuvres font partie de la collection de l’abbé Mignot, elles ont été léguées à la Donation royale et mises en dépôt au Musée L. À travers ce livre, le Musée souhaite mettre en valeur le travail de conservation/restauration mené à l’Institut royal du patrimoine artistique ( IRPA ) grâce au Fonds Baillet Latour. Au-delà de son utilité pratique qui garantit le salut, la pérennité et la transmission de ce patrimoine aux générations futures, cette intervention a permis de renseigner les usages et l’historique des sculptures, souvent remaniée...
Picturing the 'Pregnant' Magdalene in Northern Art, 1430-1550
Examining innovations in Mary Magdalene imagery in northern art 1430 to 1550, Penny Jolly explores how the saint’s widespread popularity drew upon her ability to embody oppositions and embrace a range of paradoxical roles: sinner-prostitute and saint, erotic seductress and holy prophet. Analyzing paintings by Rogier van der Weyden, Quentin Massys, and others, Jolly investigates artists’ and audiences’ responses to increasing religious tensions, expanding art markets, and changing roles for women. Using cultural ideas concerning the gendered and pregnant body, Jolly reveals how dress confirms the Magdalene’s multivalent nature. In some paintings, her gown’s opening laces betray her ...
Impressionism
Defining an artistic era or movement is often a difficult task, as one tries to group individualistic expressions and artwork under one broad brush. Such is the case with impressionism, which culls together the art of a multitude of painters in the mid-19th century, including Monet, Cézanne, Renoir, Degas, and van Gogh. Basically, impressionism involved the shedding of traditional painting methods. The subjects of art were taken from everyday life, as opposed to the pages of mythology and history. In addition, each artist painted to express feelings of the moment instead of hewing to time-honoured standards. This description of impressionism, obviously, is quite broad and can apply to a wid...
Salvator Rosa in French Literature
" Salvator Rosa (1615–1673) was a colorful and controversial Italian painter, talented musician, a notable comic actor, a prolific correspondent, and a successful satirist and poet. His paintings, especially his rugged landscapes and their evocation of the sublime, appealed to Romantic writers, and his work was highly influential on several generations of European writers. James S. Patty analyzes Rosa’s tremendous influence on French writers, chiefly those of the nineteenth century, such as Stendhal, Honoré de Balzac, Victor Hugo, George Sand, and Théophile Gautier. Arranged in chronological order, with numerous quotations from French fiction, poetry, drama, art criticism, art history, literary history, and reference works, Salvator Rosa in French Literature forms a narrative account of the reception of Rosa’s life and work in the world of French letters. James S. Patty, professor emeritus of French at Vanderbilt University, is the author of Dürer in French Letters . He lives in Nashville, Tennessee.
The Voice of Virtue
The Voice of Virtue illuminates the musical practices at the heart of the Neostoic movement that spread across French lands during the Wars of Religion in the latter half of the sixteenth century. Guided by twin reparative traditions granting music and philosophy therapeutic power, composers and performers across the embattled Catholic and Protestant confessions turned to moral song as a means of repairing personal and collective virtue damaged by the ongoing conflict. Moral song collections enlarged interest in Stoic philosophy by circulating its ethical program to a broader audience through attractive paraphrases of Stoic maxims set to music. Even more importantly, this skillfully composed...
NAJIA MEHADJI
Née à Paris en 1950, l'oeuvre de Najia Mehadji se singularise dès les années 1970 par une abstraction sensible, issue à la fois de la musique contemporaine et d'un travail sur le corps, que l'on retrouve sous la forme de performances intégrant dessin et son. Les années 1980 sont pour elle l'occasion d'un questionnement sur la pratique picturale par l'utilisation de medium inhabituels (gesso, papier transparent sur de grandes toiles brutes...). Les années 1990 marque une rupture dans son style et sa technique - des pastels à l'huile lui permettent de dessiner de longs traits continus sur la toile brute, à l'intérieur de sphères aux couleurs pures, rouges ou jaunes. Ses dernières œuvres ont trait au cosmos et au végétal, notamment avec le symbole universel de la grenade, contrepoint logique aux formes géométriques de ses débuts. Depuis peu, elle explore aussi la technologie, à l'image de ses réalisations numériques dans lesquelles sont insérés des détails de plaques gravées de Goya sur les désastres de la guerre.
