Choose an application

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

Reynolds, Joshua --- Portrait painting, English --- Reynolds, Joshua, --- English portrait painting --- Criticism and interpretation

Choose an application

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

Painting --- portraits --- Stuart --- Stuart [Dynasty] --- anno 1600-1699 --- England --- Portrait painting, English --- Portraits --- Portraiture --- Art --- Biography --- Pictures --- English portrait painting --- History --- Great Britain

Choose an application

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

Opie, Julian --- Portrait painting, English --- 7.07 --- Beeldende kunst ; 2000-2008 ; Julian Opie --- Digitale kunsten ; vrije --- Kinetische kunst --- Lichtbakken ; lichtkasten --- Opie, Julian °1958 (°Londen, Groot-Brittannië) --- Schilderkunst ; nieuwe media --- Tentoonstellingscatalogi ; Wenen ; MAK --- English portrait painting --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Opie, Julian, --- Opi, G'ulyan, --- אופי, ג׳וליאן --- Exhibitions

Choose an application

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

Between the reign of Alfred in the late ninth century and the arrival of the Normans in 1066, a unique set of images of kingship and queenship was developed in Anglo-Saxon England, images of leadership that centred on books, authorship and learning rather than thrones, sword and sceptres. Focusing on the cultural and historical contexts in which these images were produced, this book explores the reasons for their development, and their meaning and function within both England and early medieval Europe. It explains how and why they differ from their Byzantine and Continental counterparts, and what they reveal about Anglo-Saxon attitudes towards history and gender, as well as the qualities that were thought to constitute a good ruler. It is argued that this series of portraits, never before studied as a corpus, creates a visual genealogy equivalent to the textual genealogies and regnal lists that are so much a feature of late Anglo-Saxon culture. As such they are an important part of the way in which the kings and queens of early medieval England created both their history and their kingdom.

CATHERINE E. KARKOV is Professor of Art History at the University of Leeds.

Books and reading --- Anglo-Saxons --- Authorship --- Portrait painting, English. --- English portrait painting --- Authoring (Authorship) --- Writing (Authorship) --- Literature --- Saxons --- History --- Kings and rulers --- Intellectual life. --- Great Britain --- Intellectual life --- Anglo-Saxon England. --- authorship. --- books. --- early medieval England. --- gender. --- good ruler. --- history. --- kings and queens. --- kingship. --- leadership. --- learning. --- queenship. --- regnal lists. --- textual genealogies. --- visual genealogy.

Choose an application

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

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)