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As a courtier, figure of fashion, and object of erotic fascination, Anthony van Dyck (1599-1641) transformed the professional identities available to English artists. By making his portrait sittings into a form of courtly spectacle, Van Dyck inspired poets and playwrights at the same time that he offended guardians of traditional hierarchies. A self-consciously Van Dyckian lineage of artists, many of them women, extends from his lifetime to the end of the eighteenth century and beyond.0 Recovering the often surprising responses of both writers and painters to Van Dyck's portraits, this book provides an alternative perspective on English art's historical self-consciousness. Built around a series of close readings of artworks and texts ranging from poems and plays to early biographies and studio gossip, it traces the reception of Van Dyck's art on the part of artists like Mary Beale, William Hogarth, and Richard and Maria Cosway to bestow a historical specificity on the frequent claim that Van Dyck founded an English school of portraiture.
Painting --- influence --- portraits --- Dyck, van, Anthony --- England --- Portrait painting, English --- Van Dyck, Anthony, --- van Dyck, Anthony --- Dyck, Anthony van --- Van Dyck, Anthonie, --- Van Dyck, Antoon --- Van-Deĭk, Antoni --- Deĭk, Antoni van --- Dyck, Antoine van --- Van Dyck, Anton --- Van Dyck, Antoine --- Van Dijck, Anthonie --- Van Dijck, Anton --- Van Dijck, Antonie --- Van Dijck, Antoon --- Vandyke, Anthony --- Dyck, Anthonie van --- Dyck, Antoon van --- Dyck, Anton van --- Van Dyck, Anthonis --- Van Daĭk, Antonis --- Daĭk, Antonis van --- Ṿan Daiḳ, Anṭon --- Vandeik, Antoine --- Van Dyck, Antonio --- Vandyck, Anthony --- Influence. --- English portrait painting --- Engelse school --- receptiegeschiedenis --- Van Dyck, Anthony , --- Portrait painting, English. --- Flemish influences. --- Portraits (peinture)
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Painting --- painting [image-making] --- portraits --- Dyck, van, Anthony
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figuurhouding --- portraits --- Dyck, van, Anthony --- anno 1600-1699 --- England
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book review --- Hendrik IV-reeks --- Henry IV [King of France] --- Rubens, Peter Paul
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portraits --- schoonheid (vrouw) --- Medici, de', Maria [Queen of France] --- Rubens, Peter Paul --- Fourment, Helena --- Mantua, Palazzo Ducale --- Medici [serie] --- Gonzague, Vincente Mantua [hertog van] --- Ducal Palace [Mantua]
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Art --- art theory --- portraits --- Dyck, van, Anthony --- Rubens, Peter Paul
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leadership --- Henrietta Maria [Queen of Great Britain] --- Dyck, van, Anthony
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"Gesina ter Borch (1631–1690), a Dutch watercolorist and draftswoman—and the younger half-sister of painter Gerard ter Borch (1617–1681)—is one of the most well-known women artists of the seventeenth-century Dutch Republic. Her oeuvre is securely attributed and thoroughly catalogued, with three albums of her watercolors and calligraphy known today; surprisingly, though, she has never been the subject of an independent monograph or sustained discussion. This volume is the first to highlight her watercolors and calligraphy in their own right, alongside documentation of her work as an art teacher, archivist, and artist’s model.Adam Eaker revisits Ter Borch’s role during the genesis of Dutch “high-life” genre painting and, in doing so, examines the construction of gender and social classes by comparing her art with that of her brother. In this monograph, Eaker questions a historiography of women’s art that frequently valorizes painting over other media and values work for the market over “amateur” production. Gesina ter Borch offers a fascinating exploration of Ter Borch’s life and work and a more nuanced understanding of the ideologies and achievements of Dutch genre painting." --
Arts, Dutch --- Women artists --- Borch, Gesina ter, --- Drawing --- Painting --- biographies [literary works] --- Hollandse school --- vrouwelijke kunstenaar --- watercolorists --- Borch, ter, Gesina
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