Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"In de jaren omstreeks 1651 volgden Rembrandts leerlingen hem voorzichtig in de overgang naar zijn latere stijl. Deze stijl kenmerkte zich door concentratie, innerlijke emoties, impasto-technieken en ingehouden dynamiek. Omstreeks diezelfde tijd arriveerde de jonge Abraham van Dijck in Dordrecht om zijn studie af te maken. Al snel kreeg hij de emotionele kracht van Rembrandts nieuwe stijl onder de knie. Tegelijkertijd ontwikkelde hij een zachtaardig alternatief: afzonderlijk van zijn meester onderzocht hij de bezwering van het innerlijk leven, met gewaagde experimenten in licht en techniek. Samen met zijn medeleerlingen Nicolaes Maes, Jacobus Leveck en Cornelis Bisschop keerde hij terug naar Dordrecht voor een korte en vruchtbare periode waarin hij schilderde en tekende. Maar uiteindelijk kon hij de lokroep van Amsterdam wederom niet weerstaan. Al paste zijn bijzondere karakter niet bepaald binnen de nieuwe mode die daar heerste - net zoals het zijn meester was vergaan. 'Abraham van Dijck. 1635-1680' is het eerste uitgebreide monografische onderzoek van Van Dijcks bijzondere prestaties binnen de teken- en schilderkunst en zijn onderscheidende bijdrage aan de kunst van zijn tijd". "In the years around 1651, Rembrandt's pupils carefully followed him in the transition to his later style. This style was characterized by concentration, inner emotions, impasto techniques and restrained dynamics. Around the same time, the young Abraham van Dijck arrived in Dordrecht for his studies. He soon mastered the emotional power of Rembrandt's new style, while at the same time developing a gentle alternative: separately from his master he explored the incantation of the inner life through daring experiments in light and technique. fellow students Nicolaes Maes, Jacobus Leveck and Cornelis Bisschop, he returned to Dordrecht for a short and fruitful period in which he painted and drew. But in the end he again could not resist the lure of Amsterdam, although his special character did not exactly fit within the new fashion that there reigned — just as his master had fared. ”Abraham of Di jck. 1635-1680 'is the first comprehensive monographic study of Van Dijck's exceptional achievements in drawing and painting and his distinctive contribution to the art of his time'.--Translation provided by cataloger via Google Translate.

Painting, Dutch --- Art, Dutch --- Dutch art --- Nieuwe Ploeg (Group of artists) --- Ploeg (Group of artists) --- Dutch painting --- Criticism and interpretation --- Dyck, Abraham van, --- Dijck, Abraham van, --- Van Dyck, Abraham, --- Criticism and interpretation. --- catalogues raisonnés --- Dyck, Abraham van --- Van Dijck, Abraham --- Rembrandt van Rijn --- 17de eeuw --- Rembrandt --- Van Dijck, Abraham. --- Rembrandt. --- 17de eeuw. --- Hollandse school --- Rembrandt-navolgers

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Painting --- painting [image-making] --- private collections [object groupings] --- easel paintings [paintings by form] --- Bader, Alfred --- Agnes Etherington Art Centre [Kingston, Ont.] --- Europe

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Jan van Noordt (c.1623/4-1676) created some of the most flamboyant and expressive paintings of the Dutch Golden Age, such as Susanna and the Elders and Portrait of a Boy with a Falcon. Yet little was known about his life and the many misattributions of his works have hidden his significance. David de Witt untangles fact from fiction in the first comprehensive study of the life and work of Jan van Noordt.

Painters --- Painting, Dutch --- Noordt, Jan van,

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Rembrandt's Light brings together paintings, etchings and drawings that focus on Rembrandt's mastery of visual storytelling through light, concentrating on the period from 1639-58, when he lived in his 'dream house' on the Breestraat in the heart of Amsterdam (today the Rembrandt House Museum). The rooms on the first floor of the house, with their large windows and exceptional quality of light, offered new possibilities for the creation of art. Arranged thematically the book traces Rembrandt's innovation: from evoking a meditative mood, to lighting people, to creating impact and drama. Highlights include 'The Denial of St Peter', 'Pilgrims at Emmaus' and three of the artist's most famous images of women: 'A Woman Bathing in a Stream', 'A Woman in Bed' and 'Girl at a Window'. Published to coincide with an exhibition at Dulwich Picture Gallery, and the celebrations taking place throughout Europe to mark 350 years since the artist's death (1669), Rembrandt's Light aims to refresh the way we look at works by this incomparable Dutch Master.

drawings [visual works] --- light [energy] --- easel paintings [paintings by form] --- Rembrandt --- Drawing --- Painting --- licht --- Rembrandt van Rijn --- Light in art --- Rembrandt Harmenszoon van Rijn, --- Rembrandt Harmenszoon van Rijn --- Rāmbirānt, --- Rembrandt Garmens van Reĭn --- Rembrandt van Reĭ --- Lun-po-lan --- Van Rijn, Rembrandt Harmenszoon --- Rijn, Rembrandt Harmenszoon van --- Rembrandt Harmensz van Rin, --- Reimbrand --- רמברנדט --- רמברנדט הרמנסזון ואן־ריין, --- رامبرانت --- Criticism and interpretation. --- Light and darkness in art --- Chiaroscuro --- licht. --- Rembrandt. --- tentoonstelling Spa (1907). --- Salon van Spa (1907). --- 20ste eeuw.