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Frans Floris (1519/20–1570): Imagining a Northern Renaissance
Frans Floris de Vriendt was among the most celebrated Netherlandish artists of the sixteenth-century, more renowned in his day than Bruegel the Elder. This book relates Floris’s hybridizing art to the social, religious, and political crises reshaping his society.
Drawings from the Age of Bruegel, Rubens, and Rembrandt
This superb book presents 100 notable examples from the Harvard Art Museums’ distinguished collection of Dutch, Flemish, and Netherlandish drawings from the 16th to 18th century. Featuring such masters as Pieter Bruegel the Elder, Peter Paul Rubens, and Rembrandt van Rijn, the volume showcases beautiful color illustrations accompanied by insightful commentary on prevalent styles and techniques. Genres that define this artistic period—landscape, scenes of everyday life, portraiture, and still life—are explored in detail. The book also presents the results of new conservation and technical study, including infrared analysis and scientific examinations of drawing materials. This revelatory new research has allowed previously illegible underdrawings and inscriptions in many of the artworks to surface for the first time, shedding light on longstanding mysteries of production and provenance.
Dawn of the Golden Age
Designed as a catalogue for an exhibition at the Rijksmuseum in 1994, this offers a survey of the paintings, drawings, prints, sculpture and applied art produced 1580-1620. The book contains five essays followed by a catalogue which reproduces work from the era along with data on the artists.
Sixteenth-century Italian Drawings in New York Collections
Focusing exclusively on examples from the 16th century, the great age of Italian drawing, this stunning volume, published to accompany an early-1994 exhibition at The Metropolitan Museum of Art, includes 124 prized works from The Metropolitan, the Pierpont Morgan Library, the Cooper-Hewitt Museum, and some 20 private collections in New York. The catalogue is organized by school and, within each section, chronologically by artist. Each drawing is illustrated and presented with a discussion that places it in the context of the artist's career and explores the purpose for which it was made. Paper edition (unseen), $35. Annotation copyright by Book News, Inc., Portland, OR
Rembrandt, the Printmaker
The book begins with 80 pages of critical work: Ger Luijten's "Rembrandt the Printmaker: the Shaping of an Oeuvre," Erik Hinterding's "Watermark Research as a Tool for the Study of Rembrandt's etchings," Ernst van de Wetering's "Remarks on Rembrandt's Oil-sketches for Etchings" and Martin Royalton-Kisch's "The Role of Drawings in Rembrandt's Printmaking." Thereafter comes the incredible catalog of 90 works with extended discussion of each one. A bibliography, a list of exhibitions from the sixties to the nineties, a gallery of watermarks used to date Rembrandt's work, and a concordance of Bartsch and Hind numbers round out this volume. Oversize: 9.5x11.5 ". c. Book News Inc.
Violence, Trauma, and Memory
This volume examines late medieval and early modern warfare in France, the Hispanic World, and the Dutch Republic through the lens of trauma and memory studies. The essays, focusing on history, literature, and visual culture, demonstrate how people living with wartime violence processed and remembered the trauma of war.
Unfinished
This groundbreaking book explores the evolving concept of unfinishedness as essential to understanding art movements from the Renaissance to the present day. Unfinished features more than 200 works, created in a variety of media, by artists ranging from Leonardo, Titian, Rembrandt, Turner, and Cézanne to Picasso, Warhol, Twombly, Freud, Richter, and Nauman. What unites these works, across centuries and media, is that each one displays some aspect of being unfinished. Essays and case studies by major contemporary scholars address this key concept from the perspective of both the creator and the viewer, probing the impact that this long artistic trajectory—which can be traced back to the fi...
The Sublime in the Visual Culture of the Seventeenth-Century Dutch Republic
Contrary to what Kant believed about the Dutch (and their visual culture) as “being of an orderly and diligent position” and thus having no feeling for the sublime, this book argues that the sublime played an important role in seventeenth-century Dutch visual culture. By looking at different visualizations of exceptional heights, divine presence, political grandeur, extreme violence, and extraordinary artifacts, the authors demonstrate how viewers were confronted with the sublime, which evoked in them a combination of contrasting feelings of awe and fear, attraction and repulsion. In studying seventeenth-century Dutch visual culture through the lens of notions of the sublime, we can move beyond the traditional and still widespread views on Dutch art as the ultimate representation of everyday life and the expression of a prosperous society in terms of calmness, neatness, and order. The book will be of interest to scholars working in art history, visual culture, architectural history, and cultural history.
Goltzius to Van Gogh
Piet de Boer (1894-1974), a contemporary of Frits Lugt (1884-1970), amassed an impressive private collection during his 40 year career as an art dealer. The exhibition features a large selection from this collection in which the flavour of this marchand-collectionneur and his feeling for quality are paramount. A special room will be devoted to work by Vincent van Gogh: five drawings, among them the iconic Worn Out, represented by a figure in great despair and a large sheet of a Peasant Digging, created out of compassion for the lot of the poor farm labourer. There is also Moulin de Blute-fin, a coloured drawing from Van Gogh's time in Paris. Among the paintings is the striking Wheatfield, rendered with splashes of colour in Arles in June 1888. Unlike many other dealers in old art, Piet de Boer had an affinity with contemporary art and showed great interest in classical modern artists. He considered Van Gogh to be the most important among them and succeeded in bringing together this interesting group of his works. Exhibition: Fondation Custodia, Collection Frits Lugt, Paris, France (13.12.2014-8.3.2015).
Pastiche, Fashion, and Galanterie in Chardin’s Genre Subjects
Pastiche, Fashion and Galanterie in Chardin’s Genre Subjects seeks to understand how Chardin’s genre subjects were composed and constructed to communicate certain things to the elites of Paris in the 1730s and 1740s. The book argues against the conventional view of Chardin as the transparent imitator of bourgeois life and values so ingrained in art history since the nineteenth century. Instead, it makes the case that these pictures were crafted to demonstrate the artist’s wit (esprit) and taste, traits linked to conventions of seventeenth-century galanterie. Early eighteenth-century Moderns like Jean-Siméon Chardin (1699–1779) embraced an aesthetic grounded upon a notion of beauty t...
