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Rubens
Over the past four years the Royal Fine Arts Museums of Belgium have undertaken a huge research
Venetian Drawings
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Beyond the Light: Identity and Place in Nineteenth-Century Danish Art
Though known as the Danish Golden Age, nineteenth-century Denmark was one of the most tumultuous periods in the nation's history—from the disastrous siege of Copenhagen and the collapse of Denmark's monarchy to the swelling tide of nationalism that eventually engulfed all of Europe. This volume places artists at the center of Denmark's dramatic cultural, political, and philosophical transformation by bringing together 90 drawings, paintings, and oil sketches by Christoffer Wilhelm Eckersberg, Christen Købke, Constantin Hansen, Martinus Rørbye, Johan Thomas Lundbye, Vilhelm Hammershøi, and others. Five thematic essays by leading scholars in Denmark and the United States explore the way Danish artists manifested the pride, traditions, and anxieties of their nation; the sea's ever-changing role as a marker of Danish identity; the evolving nature of portraiture; nostalgia for the Danish landscape and folk traditions; and the influence on Danish artists of their travels throughout Europe.
The Classical Heritage in Nordic Art and Architecture
This volume contains eighteen articles dealing with the "reception" of Classical art and architecture in the Scandinavian countries, mainly Denmark, from the Renaissance onwards. This volume is the publication of an interdisciplinary seminar held at the University of Copenhagen 1988 with the participation of archaeologists and art historians.
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.
Rembrandt
A landmark book that casts critical light on one of Rembrandt’s most iconic paintings In The Nightwatch, Rembrandt turns his portrayal of eighteen prominent Amsterdam citizens as members of a militia company into one of the world’s most fascinating works of art, one that evokes censure as well as praise. The painting, however, was not an eccentric vision but a thoughtful reworking of a longstanding tradition of militia portraiture. In this classic book, Egbert Haverkamp-Begemann shows how Rembrandt chose motifs, colors, actions, and setting to emphasize the historic role of the militia in Amsterdam and the social standing of the men portrayed, and how contemporary viewers associated costumes and actions with events of the past and familiar circumstances of the period when the painting was made. Meticulously reconstructing the artist’s intentions and the viewer’s response, Haverkamp-Begemann sheds critical light on the startling young woman in gold and other visual elements of this remarkable work.
Rubens
The first study devoted to classical art’s vital creative impact on the work of the Flemish painter Peter Paul Rubens. For the great Peter Paul Rubens (1577–1640), the classical past afforded lifelong creative stimulus and the camaraderie of humanist friends. A formidable scholar, Rubens ingeniously transmitted the physical ideals of ancient sculptors, visualized the spectacle of imperial occasions, rendered the intricacies of mythological tales, and delineated the character of gods and heroes in his drawings, paintings, and designs for tapestries. His passion for antiquity profoundly informed every aspect of his art and life. Including 170 color illustrations, this volume addresses t...
Degas
Degas was closest to Renoir in the impressionist’s circle, for both favoured the animated Parisian life of their day as a motif in their paintings. Degas did not attend Gleyre’s studio; most likely he first met the future impressionists at the Café Guerbois. He started his apprenticeship in 1853 at the studio of Louis-Ernest Barrias and, beginning in 1854, studied under Louis Lamothe, who revered Ingres above all others, and transmitted his adoration for this master to Edgar Degas. Starting in 1854 Degas travelled frequently to Italy: first to Naples, where he made the acquaintance of his numerous cousins, and then to Rome and Florence, where he copied tirelessly from the Old Masters. H...
