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The Museumbook
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Van Dyck 1599-1641
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De Koninklijke Musea voor Schone Kunsten van België
Eindelijk wordt de boeiende geschiedenis van een van België's meest prestigieuze musea te boek gesteld. Het hoogtepunt van de festiviteiten rond het 200-jarig bestaan van de Musea. Drie jaar archiefstudie samengevat in een schitterend omvangrijk werk, met talrijke illustraties van de Musea en haar collectie. Een must voor elke kunstliefhebber. De Koninklijke Musea voor Schone Kunsten van België hebben hun 200-jarig bestaan met luister gevierd. De verschillende activiteiten in dit kader in 2001 en 2002 waren voornamelijk gericht op de collecties van de Musea. Het hoogtepunt van de festiviteiten in maart 2003 is het ideale moment om de eerste gedetailleerde studie te publiceren over de geschiedenis van deze Musea zelf.
Oude meesters
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Oude meesters
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Blood, Milk, Ink, Gold
Most people would be hard pressed to name a famous artist from Renaissance France. Yet sixteenth-century French kings believed they were the heirs of imperial Rome and commissioned a magnificent array of visual arts to secure their hopes of political ascendancy with images of overflowing abundance. With a wide-ranging yet richly detailed interdisciplinary approach, Rebecca Zorach examines the visual culture of the French Renaissance, where depictions of sacrifice, luxury, fertility, violence, metamorphosis, and sexual excess are central. Zorach looks at the cultural, political, and individual roles that played out in these artistic themes and how, eventually, these aesthetics of exuberant ab...
Art Market and Connoisseurship
The question of whether seventeenth-century painters such as Rembrandt and Rubens were exclusively responsible for the paintings later sold under their names has caused many a heated debate. Despite the rise of scholarship on the history of the art market, much is still unknown about the ways in which paintings were produced, assessed, priced, and marketed during this period, which leads to several provocative questions: did contemporary connoisseurs expect masters such as Rembrandt to paint works entirely by their own hand? Who was credited with the ability to assess paintings as genuine? The contributors to this engaging collection—Eric Jan Sluijter, Hans Van Miegroet, and Neil De Marchi, among them—trace these issues through the booming art market of the seventeenth and eighteenth centuries, arriving at fascinating and occasionally unexpected conclusions.
