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Jean Schaack (1895-1959) a pris très tôt la décision de vivre pour sa passion : la peinture. Travailleur assidu, il a participé à de nombreuses expositions de son vivant pour nous laisser un patrimoine national considérable. De nos jours, suite aux généreux dons de la famille de l'artiste, le Musée national d'histoire et d'art dispose d'un ensemble cohérent, représentatif de son oeuvre, à travers lequel l'évolution du peintre peut être suivie. L'exposition Jean Schaack représente une étape importante dans la volonté du musée de dévoiler progressivement ses fonds grâce aux expositions temporaires, accompagnée par la publication d'un catalogue reprenant l'inventaire complet des oeuvres dans les collections du MNHA.

Drawing --- Painting --- Schaack, Jean --- National Museum for History and Art [Luxembourg] --- Painters --- Painting, Modern --- Peintres --- Peinture --- Schaack, Jean, --- Exhibitions --- National Museum for History and Art [Luxemburg] --- MNHA: Musée national d'histoire et d'art Luxembourg

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Painting --- -Oil painting --- Painting, Primitive --- Paintings --- Graphic arts --- Expertising --- Painting. --- Bildbetrachtung. --- Kunst. --- Geschichte. --- -Expertising --- Art and history --- History and art --- -Psychology --- -History and art --- Painters --- History --- History in art --- Psychology --- CDL --- 75.01 --- Art and history. --- Peinture --- Art et histoire. --- Peintres --- Expertising. --- Psychology. --- Expertise. --- Psychologie. --- Interpretation

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Au centre de l'Europe, le Luxembourg est aujourd'hui une importante plateforme d'échanges dans différents domaines. Durant le XVIIe siècle, le Luxembourg faisait partie, avec les Pays-Bas et la Belgique, de l'empire des Habsbourg catholiques, où les idées et les tendances se propageaient également particulièrement vite. Le Musée national d'histoire et d'art est honoré de présenter cette prestigieuse exposition "Drama and tenderness - Flemish, Spanish and Italian art of the Baroque", qui aborde le rapport qu'entretenaient différents artistes baroques avec leur lieu de naissance ainsi que les multiples influences interrégionales et internationales. Elle met ainsi en avant des similitudes longtemps méconnues entre l'art flamand, d'une part, l'art espagnol et italien de l'autre. [extrait de la préface, p. [7])

Painting --- Netherlandish Renaissance-Baroque styles --- Italian Renaissance-Baroque styles --- easel paintings [paintings by form] --- Spanish Renaissance-Baroque styles --- National Museum for History and Art [Luxembourg] --- Royal Museum of Fine Arts [Antwerp] --- anno 1600-1699 --- Spain --- Flanders --- Italy --- Exhibitions --- National Museum for History and Art [Luxemburg] --- Vlaamse school --- MNHA: Musée national d'histoire et d'art Luxembourg --- Musée national d'art et d'histoire (Luxemburg) --- Koninklijk Museum voor Schone Kunsten Antwerpen --- privé-verzamelingen --- barok --- 17de eeuw --- Vlaanderen --- Spanje --- Italië

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"Working with a data set accounting for 13,000 auction sales results, Anne-Sophie V. Radermecker explores what contemporary buyers value when purchasing paintings of unknown or uncertain authorship, and which variables influence price formation mechanisms in this market segment. The principle finding of this book is not only that historical names matter in the art market, but so do all other alternative identification strategies that art market players use to label anonymous paintings. Indirect names, provisional names, and spatiotemporal designations function as substitutes for real names that simulate identities, create ex-post stories around the artworks offered for sale, and, consequently, reduce information asymmetry about an artist's identity, with, at time, quite unexpected effects on price"--4e de couv.

Art and history --- History and art --- History --- History in art --- Art and history. --- Painting, Flemish. --- Anonymous art --- Painting --- Consumer behavior. --- Economic aspects. --- Peinture --- Art anonyme --- Art --- Appréciation. --- Prix --- Commerce --- Economic relations. Trade --- art market --- easel paintings [paintings by form] --- Early Netherlandish --- anno 1900-1999 --- anno 2000-2099 --- Flanders --- collecting --- Western world --- Marketing --- Flemish painting --- Painting, Flemish

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Stefan Jonsson uses three monumental works of art to build a provocative history of popular revolt: Jacques-Louis David's The Tennis Court Oath (1791), James Ensor's Christ's Entry into Brussels in 1889 (1888), and Alfredo Jaar's They Loved It So Much, the Revolution (1989). Addressing, respectively, the French Revolution of 1789, Belgium's proletarian messianism in the 1880s, and the worldwide rebellions and revolutions of 1968, these canonical images not only depict an alternative view of history but offer a new understanding of the relationship between art and politics and the revolutionary nature of true democracy. Drawing on examples from literature, politics, philosophy, and other works of art, Jonsson carefully constructs his portrait, revealing surprising parallels between the political representation of "the people" in government and their aesthetic representation in painting. Both essentially "frame" the people, Jonsson argues, defining them as elites or masses, responsible citizens or angry mobs. Yet in the aesthetic fantasies of David, Ensor, and Jaar, Jonsson finds a different understanding of democracy-one in which human collectives break the frame and enter the picture.Connecting the achievements and failures of past revolutions to current political issues, Jonsson then situates our present moment in a long historical drama of popular unrest, making his book both a cultural history and a contemporary discussion about the fate of democracy in our globalized world.

History --- Social change --- Community organization --- Art --- David, Jacques-Louis --- Ensor, James --- Jaar, Alfredo --- Europe --- Art and history --- Social classes in art. --- Social movements --- Revolutions --- Art et histoire --- Classes sociales dans l'art --- Mouvements sociaux --- Révolutions --- 922 Sociale geschiedenis --- 620 Kunst --- History, Modern, in art. --- History and art --- History in art --- Movements, Social --- Social history --- Social psychology --- Révolutions --- History, Modern, in art --- Social classes in art --- ART / History / General. --- UmU kursbok