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The recent rediscovery in Spain of Pieter Bruegel the Elder's lost painting 'The wine of Saint Martin's Day', has created even more interest in this much-loved artist, who was one of the Netherlands' two great masters of satire and fantasy, along with Hieronymus Bosch. In this new monograph, Larry Silver, an eminent historian of Northern Renaissance art, serves as our guide to that world. He leads us expertly through Bruegel's complex and fascinating iconography, allowing us to see his paintings and drawings from the same perspective as his sixteenth-century countrymen. Silver situates Bruegel within the visual culture of his time - exploring, for example, his relationship with the print publisher Hieronymus Cock - and within the broader context of Netherlandish history. All of Bruegel's surviving paintings are reproduced here, with many full-page details, as well as all of his prints and representative works by his contemporaries and followers.
Bruegel, Pieter [Elder] --- Bruegel, Pieter, --- Bruegel, Pieter --- Bolugaier --- Breĭgelʹ, Piter --- Brʹogel, Piter --- Broigel, Peṭer --- Bruegel, Pierre --- Bruegel, --- Brueghel, Pieter --- Bryūgeru, Pītā --- Po-lu-kai-erh --- Criticism and interpretation. --- Breughel, Pieter --- Breugel, Pieter --- Bolugaier, --- Breĭgelʹ, Piter, --- Brʹogel, Piter, --- Broigel, Peṭer, --- Breughel de Oude, Pieter --- Bruegel, Pierre, --- Brueghel, Pieter, --- Bryūgeru, Pītā, --- Po-lu-kai-erh, --- ברויגל, פיטר
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"Long before the photo op, political rulers were manipulating visual imagery to cultivate their authority and spread their ideology. Born just decades after Gutenberg, the Holy Roman Emperor Maximilian I (1459-1519) was, Larry Silver argues, the first ruler to exploit the propaganda power of printed images and text. Marketing Maximilian explores how Maximilian used illustrations and other visual arts to shape his image, achieve what Max Weber calls "the routinization of charisma," strengthen the power of the Hapsburg dynasty, and help establish the Austro-Hungarian Empire. A fascinating study of the self-fashioning of an early modern ruler who was as much image-maker as emperor, Marketing Maximilian shows why Maximilian remains one of the most remarkable, innovative, and self-aggrandizing royal art patrons in European history. Silver describes how Maximilian--lacking a real capital or court center, the ability to tax, and an easily manageable territory- undertook a vast and expensive visual-media campaign to forward his extravagant claims to imperial rank, noble blood, perfect virtues, and military success. To press these claims, Maximilian patronized and often personally supervised and collaborated with the best printers, craftsmen, and artists of his time (among them no less than Albrecht Durer) to plan and produce illustrated books, medals, heralds, armor, and an ambitious tomb monument."
Politics --- Art --- History of Europe --- Maximilian I [Holy Roman emperor] --- Political aspects --- Aspect politique --- Maximilian --- Art patronage. --- Holy Roman Empire --- Saint Empire romain germanique --- Saint Empire romain --- Intellectual life. --- History --- Vie intellectuelle --- Histoire --- Art patronage --- Intellectual life --- 943.02 --- 76 <43> "15" --- 76 BURGKMAIR, HANS --- 76.044 --- Geschiedenis van Duitsland: verdrag van Verdun tot de Reformatie--(843-1519) --- Grafische kunsten. Grafiek. Prentkunst--Duitsland voor 1945 en na 1989--16e eeuw. Periode 1500-1599 --- Grafische kunsten. Grafiek. Prentkunst--BURGKMAIR, HANS --- Geschiedkundige voorstellingen: staatshandelingen; veldslagen in de prentkunst --- 76.044 Geschiedkundige voorstellingen: staatshandelingen; veldslagen in de prentkunst --- 76 BURGKMAIR, HANS Grafische kunsten. Grafiek. Prentkunst--BURGKMAIR, HANS --- 76 <43> "15" Grafische kunsten. Grafiek. Prentkunst--Duitsland voor 1945 en na 1989--16e eeuw. Periode 1500-1599 --- 943.02 Geschiedenis van Duitsland: verdrag van Verdun tot de Reformatie--(843-1519) --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Maximiliano --- Maximilien --- Massimiliano --- Heiliges Römisches Reich Deutscher Nation --- Heiliges Römisches Reich --- Svi︠a︡shchennai︠a︡ Rimskai︠a︡ Imperii︠a︡ --- Imperium Romano Germanicum --- S.R.I. --- Sacrum Romanum Imperium --- Austria --- Germany --- Politiek --- Kunst --- Geschiedenis van Europa --- Maximiliaan I [Keizer v.h. H.Roomse Rijk] --- Art, Primitive --- Art - Political aspects - Holy Roman Empire --- Maximilian - I, - Holy Roman Emperor, - 1459-1519 - Art patronage --- Holy Roman Empire - Intellectual life --- Holy Roman Empire - History - Maximilian I, 1493-1519 --- Maximilien 01 (empereur germanique ; 1490-1519) --- Mécénat --- 1493-1519 (Maximilien I) --- Maximilian - I, - Holy Roman Emperor, - 1459-1519 --- Mécénat
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Investigates the origins of new pictorial types and their media as a phenomenon of sixteenth-century Antwerp. It interprets several pictorial genres - scenes of taverns and markets, landscapes and peasants at work and play, still-life compositions - and charts their evolution and their role in the development and marketing of individual artistic styles, known as "signature" artistic style. Larry Silver argues that consumer interest in the style of individual artists reinforced another phenomenon of the later sixteenth century : art collecting.
Genre painting, Flemish --- Landscape painting, Flemish --- Art --- Art and society --- Peinture de genre flamande --- Peinture de paysages flamande --- Art et société --- Economic aspects --- History --- Aspect économique --- Histoire --- 75 <493> "15" --- 76 <493> "15" --- 76.047 <493> --- 7.075 --- 7.075 Kunsthandel. Kunstbemiddeling. Activiteiten van promotors managers producers --- Kunsthandel. Kunstbemiddeling. Activiteiten van promotors managers producers --- 76.047 <493> Iconografie: landschappen stadsgezichten zeegezichten in de prentkunst--België --- Iconografie: landschappen stadsgezichten zeegezichten in de prentkunst--België --- 76 <493> "15" Grafische kunsten. Grafiek. Prentkunst--België--16e eeuw. Periode 1500-1599 --- Grafische kunsten. Grafiek. Prentkunst--België--16e eeuw. Periode 1500-1599 --- 75 <493> "15" Schilderkunst--België--?"15" --- Schilderkunst--België--?"15" --- Art et société --- Aspect économique --- farmers [people in agriculture] --- art market --- boerentaferelen --- 7.075 Kunsthandel. Kunstbemiddeling. Activiteiten van promotors; managers; producers --- Kunsthandel. Kunstbemiddeling. Activiteiten van promotors; managers; producers --- 76.047 <493> Iconografie: landschappen; stadsgezichten; zeegezichten in de prentkunst--België --- Iconografie: landschappen; stadsgezichten; zeegezichten in de prentkunst--België --- Flemish landscape painting --- Flemish genre painting --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Art and sociology --- Society and art --- Sociology and art --- Social aspects --- Painting --- Economic relations. Trade --- landscapes [representations] --- anno 1500-1599 --- Antwerp --- kunsthandel --- geschiedenis --- sociale geschiedenis --- landschappen --- genrestukken --- 16de eeuw --- Antwerpen --- Landscape painting [Flemish ] --- Belgium --- Antwerp (Belgium) --- 16th century --- Genre painting [Flemish ] --- Art, Primitive --- Genre painting, Flemish - Belgium - Antwerp - 16th century --- Landscape painting, Flemish - Belgium - Antwerp - 16th century --- Art - Economic aspects - Belgium - Antwerp - History - 16th century --- Art and society - Belgium - Antwerp - History - 16th century --- boerentaferelen. --- kunsthandel. --- geschiedenis. --- sociale geschiedenis. --- landschappen. --- genrestukken. --- 16de eeuw. --- Antwerpen.
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Récemment, la redécouverte extraordinaire, en Espagne, d'un tableau perdu de Pieter Bruegel l'Ancien (vers 1525-1569) a fait l'effet d'une bombe et a ravivé l'intérêt que le public porte à ce grand peintre flamand. Cette oeuvre a subi les outrages du temps et est encore en restauration au Prado. Célèbre pour ses descriptions amusantes de paysans, de paysages de toutes saisons et de tableaux à la façon de Bosch, Bruegel a également créé de nombreuses peintures consacrées à des thèmes religieux. Après une carrière de plus de vingt ans de dessinateur et de peintre, il se fit un nom dans la "capitale du capitalisme", Anvers, le centre du commerce international et le leader du marché de l'art. Cet ouvrage examine tout l'ouvre de Bruegel alors même que sera présentée une foule de peintres flamands de sa génération qui ont coopéré avec Jérôme Cock, son éditeur de gravures. Bruegel est ici confronté non seulement avec ses rivaux d'Anvers, mais aussi avec les peintres qui l'ont inspiré, de loin ou de près, comme Joachim Patinir, Rogier van der Weyden ou Jérôme Bosch. Le contexte historique dans lequel Bruegel a vécu est longuement décrit : c'était en effet une époque de troubles religieux intenses opposant le roi d'Espagne, le catholique Philippe II, aux calvinistes naissants. L'iconoclasme de 1566 fut un des détonateurs qui allait engendrer la fameuse Révolte des Gueux ou Guerre de Quatre-Vingts Ans. Bruegel ne fut évidemment pas indifférent à ces événements, qu'il a "discrètement" retranscris dans sa peinture, n'osant pas dénoncer clairement les abus du pouvoir tant était grand le risque de poursuites et de représailles sévères. Les historiens de l'art trouveront certainement dans ce livre un nouveau point de vue sur l'oeuvre du peintre qui éclairera certaines de leurs conceptions, mais il s'agit ici d'aller également à la rencontre d'un public plus large qui découvrira, ou redécouvrira avec plaisir les facéties, les symboles, les scènes paysannes qui ont permis à Bruegel de faire un portrait sans faille de la condition humaine.
Painting, Flemish --- Peinture flamande --- Bruegel, Pieter, --- Bruegel, Pieter [Elder] --- --Histoire de la peinture --- Bruegel, Pieter l'ancien --- 16e siècle --- Pays-bas espagnols --- --XVIe s., --- Histoire --- --Pays-Bas espagnols --- XVIe s., 1501-1600 --- Histoire de la peinture --- Bruegel, Pieter, 1525-1569 --- Pays-Bas espagnols --- Painting --- easel paintings [paintings by form]
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Because Dutch seventeenth-century painting is primarily known for its naturalism, representing the divine posed particular problems for painters of religious stories, especially Rembrandt. Indeed, if seeing is believing, then the visible presence of angels – and finally the presence on earth of Christ as the divine Incarnation in the flesh – could confirm to the senses the presence of divine providence in the world. Angels also evoke a sense of wonder in all who behold them, those who are blessed to receive their visitation from a watchful, if invisible God. Like John Calvin, Rembrandt carefully read his Bible. Thus his angels, represented traditionally as winged creatures, actively participate in important religious events, particularly in Old Testament scenes, beginning with Abraham. In later biblical history, however, angelic appearances diminish; both God – and angels as His agents – intervene less directly to interact with humankind. In Rembrandt’s art, angels are active and visible, but sometimes they reveal their identity just as they disappear, flying away. Other Rembrandt religious images convey divine presence only through light rays from above. With the New Testament advent of Christ, however, angelic attendants chiefly magnify the divine nature of Jesus in the world. Following the theology of John Calvin that dominated Dutch spirituality, Rembrandt allows his pious viewers to behold those very angels or, like Mary Magdalene and the apostles, even to view the divine nature of the risen Christ
angels [spirits] --- iconology --- divinity --- religious art --- Iconography --- Rembrandt --- Painting, Dutch --- Prints, Dutch --- Drawing, Dutch --- Christian art and symbolism --- Angels in art --- Rembrandt Harmenszoon van Rijn, --- Rembrandt Harmenszoon van Rijn --- Criticism and interpretation --- divinity [doctrinal concept]
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Massijs, Quinten --- Iconography --- iconography --- jesters --- zotheid --- Massijs, Quinten (I) --- 16de eeuw --- 75.034 --- schilderkunst --- 16e eeuw --- Quinten Matsijs --- schilderkunst - barok, koloniale stijl, renaissance en rococo --- Massijs, Quentin I, --- Maarten de Vos --- zotheid. --- 16de eeuw.
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Rembrandt van Rijn and the Netherlands grew up together. The artist, born in Leiden in 1606, lived during the tumultuous period of the Dutch Revolt and the establishment of the independent Dutch Republic. He moved to Amsterdam, a cosmopolitan centre of world trade, and became the city's most fashionable portraitist. His attempts to establish himself with the powerful court at The Hague failed, however, and the final decade of his life was marked by financial hardship and personal tragedy. Rembrandt's Holland considers anew the life and work of this celebrated painter as it charts his career alongside the visual culture of urban Amsterdam and the new Dutch Republic. It brings to light his problematic relationship with the ruling court at The Hague and re-examines how his art developed, from large-scale, detailed religious imagery to more personal drawings and etchings, moving self-portraits and heartfelt close-ups of saintly figures. Featuring up-to-date scholarship and in-depth analysis of Rembrandt's major works, as well as numerous beautiful images, Rembrandt's Holland is essential reading for art students and those who enjoy the work of the Dutch Masters.
Painters --- 75.07 --- Rembrandt van Rijn 1606-1669 (°Leiden, Nederland) --- Schilderkunst ; 17de eeuw ; Rembrandt van Rijn --- Schilderkunst ; Nederland ; Gouden Eeuw --- Schilderkunst ; schilders A-Z --- Rembrandt Harmenszoon van Rijn, --- Rāmbirānt, --- Rembrandt Garmens van Reĭn, --- Rembrandt van Rijn --- Rembrandt van Reĭn, --- Lun-po-lang, --- Rembrandt, --- Van Rijn, Rembrandt Harmenszoon, --- Rijn, Rembrandt Harmenszoon van, --- Rembrandt Harmensz van Rijn, --- Reimbrandt, --- Rembrandt van Rijn, --- רמברנדט --- רמברנדט הרמנסזון ואן־ריין, --- رامبرانت --- Netherlands --- The Netherlands --- Pays-Bas --- Países Baixos --- Holland --- Spanish Netherlands --- Pays-Bas espagnols --- Austrian Netherlands --- Pays-Bas autrichiens --- Oostenrijkse Nederlanden --- Southern Netherlands --- Pays-Bas méridionaux --- Zuidelijke Nederlanden --- Niderlandy --- Belanda --- Nederland --- Koninkrijk der Nederlanden --- Reino dos Países Baixos --- Royaume des Pays-Bas --- Kingdom of the Netherlands --- Países Bajos --- Holanda --- Nederlân --- Hulanda --- Beulanda --- Niderland --- Niderlande --- هولندا --- مملكة هولندا --- Mamlakat Hūlandā --- Olanda --- Payis-Bâs --- Países Baxos --- Aynacha Jach'a Markanaka --- Nirlan --- Niderland Krallığı --- Kē-tē-kok --- Landa --- Kerajaan Landa --- Нидерландтар --- Niderlandtar --- Нидерландтар Короллеге --- Niderlandtar Korollege --- Нідэрланды --- Каралеўства Нідэрланды --- Karaleŭstva Nidėrlandy --- Nederlands --- Niadaland --- Holandija --- Kraljevina Holandija --- Izelvroioù --- Нидерландия --- Niderlandii︠a︡ --- Кралство Нидерландия --- Kralstvo Niderlandii︠a︡ --- Països Baixos --- Нидерландсем --- Niderlandsem --- Нидерландсен Патшалăхĕ --- Niderlandsen Patshalăkhĕ --- Nizozemsko --- Paesi Bassi --- Regnu di i Paesi Bassi --- Iseldiroedd --- Nederlandene --- Niederlande --- Kéyah Wóyahgo Siʼánígíí --- Nižozemska --- Kralojstwo Nederlandow --- Madalmaad --- Ολλανδία --- Ollandia --- Hollandia --- Κάτω Χώρες --- Katō Chōres --- Βασίλειο των Κάτω Χωρών --- Vasileio tōn Katō Chōrōn --- Nederlando --- Reĝlando Nederlando --- Paisis Bajus --- Herbehereak --- Herbehereetako Erresumaren --- هلند --- Huland --- Niðurlond --- Háland --- Paîs Bas --- Neerlande --- Ísiltír --- Ríocht na hÍsiltíre --- Çheer Injil --- Çheer y Vagheragh --- Reeriaght ny Çheer Injil --- Tìrean Ìsle --- Hò-làn --- Недерлендин Нутг --- Nederlendin Nutg --- 네덜란드 --- Nedŏllandŭ --- Hōlani --- Nederlandia --- Pais Basse --- Regno del Paises Basse --- Нидерландтæ --- Niderlandtæ --- Нидерландты Къаролад --- Niderlandty Kʺarolad --- Konungsríkið Holland --- הולנד --- Holand --- ממלכת ארצות השפלה --- Mamlekhet Artsot ha-Shefelah --- Walanda --- Hollandi --- Нидерландла --- Niderlandla --- Нидерландланы Королевствосу --- Niderlandlany Korolevstvosu --- Néderlandzkô --- Нидерланд --- Iseldiryow --- Ubuholandi --- Ubuhorandi --- Nederilande --- Нидерланддар --- Niderlanddar --- Uholanzi --- Ufalme wa Nchi za Chini --- Нидерландъяс --- Niderlandʺi︠a︡s --- Нидерландъяс Корольув --- Niderlandʺi︠a︡s Korolʹuv --- Peyiba --- Holenda --- Keyatiya Nederlandan --- Payises Bashos --- פאייסיס באשוס --- Nīderlandeja --- Batavia --- Regni Nederlandiarum --- Nīderlandes Karaliste --- Nyderlandai --- Nyderlandų Karalystė --- Paixi Basci --- Paes Bass --- Ulanda --- Holland Királyság --- Keninkryk fan 'e Nederlannen --- Reino di Hulanda --- Холандија --- Кралство Холандија --- Kralstvo Holandija --- Pajjiżi l-Baxxi --- Hōrana --- Недерлатт --- Nederlatt --- Оцязорксши Недерлатт --- Ot︠s︡i︠a︡zorksshi Nederlatt --- Нидерландын Вант Улс --- Niderlandyn Vant Uls --- Tlanitlālpan --- Huēyitlahtohcāyōtl in Tlanitlālpan --- Eben Eyong --- Nederlaand --- オランダ --- Oranda --- オランダ王国 --- Oranda Ōkoku --- Ulanna --- Nethiland --- Nederlande --- Holandska --- Holland (Kingdom) --- Batavian Republic --- United Provinces of the Netherlands --- Civilization --- Rembrandt --- Rembrandt Harmenszoon van Rijn --- Rembrandt Garmens van Reĭn --- Rembrandt van Reĭ --- Lun-po-lan --- Van Rijn, Rembrandt Harmenszoon --- Rijn, Rembrandt Harmenszoon van --- Rembrandt Harmensz van Rin, --- Reimbrand
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"Europe Views the World examines the wide diversity of images that Europeans produced to represent the wide variety of peoples and places around the globe during and after the so-called 'Age of Exploration.' Beginning with the medieval imagery of Europe's imagined alien races, and with an emphasis on the artists of Northern Europe, Larry Silver takes the reader on a tour across continents, from the Americas to Africa and Asia. Encompassing works such as prints, paintings, maps, tapestries, and sculptural objects, this book addresses the overall question of an emerging European self-definition through the evidence of visual culture, however biased, about the wider world in its component parts. Unique to this book, each chapter concludes with an 'in response,' analysing representations of Europeans by indigenous peoples of each continent to give a deeper and more multi-faceted account of the impact of Europe's view of the world."--Publisher's description.
Iconography --- World history --- History of civilization --- exoticism --- anno 1500-1599 --- anno 1600-1699 --- Europe --- Art and globalization --- Art, European --- Exoticism in art --- Art, Medieval --- Art, Renaissance --- Renaissance art --- Medieval art --- Art, Exotic --- Art --- Globalization and art --- Globalization --- Themes, motives
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