Ann-Sophie Lehmann, How materials make meaning Michele Tomasi, Materiaux, techniques, commanditai... more Ann-Sophie Lehmann, How materials make meaning Michele Tomasi, Materiaux, techniques, commanditaires et espaces. Le systeme des retables a la chartreuse de Champmol Kim Woods, The Master of Rimini and the tradition of alabaster carving in the early fifteenth-century Netherlands Aleksandra Lipinska, Alabastrum, id est, corpus hominis. Alabaster in the Low Countries, a cultural history Koenraad Jonckheere, Images of stone. The physicality of art and the image debates in the sixteenth century Ralph Dekoninck, Between denial and exaltation. The material of the miraculous images of the Virgin in the Southern Netherlands during the seventeenth century Thijs Weststeijn, The gender of colors in Dutch art theory Nadja Baadj, A world of materials in a cabinet without drawers: Reframing Jan van Kessel's The four parts of the world Martha Moffitt Peacock, Paper as power. Carving a niche for the female artist in the work of Joanna Koerten Frits Scholten, Malleable marble. The Antwerp snow sculptures of 1772
... theatricality, painter and "stage-poet."'7 Hoogstraten himself had... more ... theatricality, painter and "stage-poet."'7 Hoogstraten himself had invoked the theatrical metaphor in his ... story-telling re-gains its integrity and comes to seem more deliberate than intuitive. ... JanSteen Though Steen was not a paradigmatic history painter like Lairesse or Van der ...
H. Perry Chapman has produced the first comprehensive treatment of the entire body of Rembrandt&#... more H. Perry Chapman has produced the first comprehensive treatment of the entire body of Rembrandt's self-portraits in their cultural and historical setting and in the context of the artist's life. Prevailing scholarship has tried to discredit the idea that the self-portraits stemmed from any particular inner need, but Chapman counters by presenting fascinating evidence that they represent a conscious and progressive quest for individual identity in a truly modern sense. "H. Perry Chapman, in my view, gives us the Rembrandt we need in the 1990s. . . . [Her] sensitivity to questions of style and expression, combined with original research, leads to a conclusion . . . that Rembrandt's lifelong preoccupation with self-portraiture can be seen as a necessary process of identity formation or self-definition'--in short, autobiography."--Walter Liedtke, The Journal of Art "Chapman is a graceful writer. Her arguments are balanced, well documented, and vigorously pursued. . . . The publication of this book is cause for gratitude and joy."--Thomas D'Evelyn, Christian Science Monitor
This volume is concerned with images and discourses of the artist in the Netherlands from the lat... more This volume is concerned with images and discourses of the artist in the Netherlands from the late 15th century until the mid 17th century, when the relationship between a community of craftsman and elite individuals, between consciousness of a native tradition and membership of international humanist society, between image and word, between hand, mind and spirit, were being actively negotiated.
This volume is concerned with images and discourses of the artist in the Netherlands from the lat... more This volume is concerned with images and discourses of the artist in the Netherlands from the late 15th century until the mid 17th century, when the relationship between a community of craftsman and elite individuals, between consciousness of a native tradition and membership of international humanist society, between image and word, between hand, mind and spirit, were being actively negotiated.
This volume is concerned with images and discourses of the artist in the Netherlands from the lat... more This volume is concerned with images and discourses of the artist in the Netherlands from the late 15th century until the mid 17th century, when the relationship between a community of craftsman and elite individuals, between consciousness of a native tradition and membership of international humanist society, between image and word, between hand, mind and spirit, were being actively negotiated.
Ann-Sophie Lehmann, How materials make meaning Michele Tomasi, Materiaux, techniques, commanditai... more Ann-Sophie Lehmann, How materials make meaning Michele Tomasi, Materiaux, techniques, commanditaires et espaces. Le systeme des retables a la chartreuse de Champmol Kim Woods, The Master of Rimini and the tradition of alabaster carving in the early fifteenth-century Netherlands Aleksandra Lipinska, Alabastrum, id est, corpus hominis. Alabaster in the Low Countries, a cultural history Koenraad Jonckheere, Images of stone. The physicality of art and the image debates in the sixteenth century Ralph Dekoninck, Between denial and exaltation. The material of the miraculous images of the Virgin in the Southern Netherlands during the seventeenth century Thijs Weststeijn, The gender of colors in Dutch art theory Nadja Baadj, A world of materials in a cabinet without drawers: Reframing Jan van Kessel's The four parts of the world Martha Moffitt Peacock, Paper as power. Carving a niche for the female artist in the work of Joanna Koerten Frits Scholten, Malleable marble. The Antwerp snow sculptures of 1772
... theatricality, painter and "stage-poet."'7 Hoogstraten himself had... more ... theatricality, painter and "stage-poet."'7 Hoogstraten himself had invoked the theatrical metaphor in his ... story-telling re-gains its integrity and comes to seem more deliberate than intuitive. ... JanSteen Though Steen was not a paradigmatic history painter like Lairesse or Van der ...
H. Perry Chapman has produced the first comprehensive treatment of the entire body of Rembrandt&#... more H. Perry Chapman has produced the first comprehensive treatment of the entire body of Rembrandt's self-portraits in their cultural and historical setting and in the context of the artist's life. Prevailing scholarship has tried to discredit the idea that the self-portraits stemmed from any particular inner need, but Chapman counters by presenting fascinating evidence that they represent a conscious and progressive quest for individual identity in a truly modern sense. "H. Perry Chapman, in my view, gives us the Rembrandt we need in the 1990s. . . . [Her] sensitivity to questions of style and expression, combined with original research, leads to a conclusion . . . that Rembrandt's lifelong preoccupation with self-portraiture can be seen as a necessary process of identity formation or self-definition'--in short, autobiography."--Walter Liedtke, The Journal of Art "Chapman is a graceful writer. Her arguments are balanced, well documented, and vigorously pursued. . . . The publication of this book is cause for gratitude and joy."--Thomas D'Evelyn, Christian Science Monitor
This volume is concerned with images and discourses of the artist in the Netherlands from the lat... more This volume is concerned with images and discourses of the artist in the Netherlands from the late 15th century until the mid 17th century, when the relationship between a community of craftsman and elite individuals, between consciousness of a native tradition and membership of international humanist society, between image and word, between hand, mind and spirit, were being actively negotiated.
This volume is concerned with images and discourses of the artist in the Netherlands from the lat... more This volume is concerned with images and discourses of the artist in the Netherlands from the late 15th century until the mid 17th century, when the relationship between a community of craftsman and elite individuals, between consciousness of a native tradition and membership of international humanist society, between image and word, between hand, mind and spirit, were being actively negotiated.
This volume is concerned with images and discourses of the artist in the Netherlands from the lat... more This volume is concerned with images and discourses of the artist in the Netherlands from the late 15th century until the mid 17th century, when the relationship between a community of craftsman and elite individuals, between consciousness of a native tradition and membership of international humanist society, between image and word, between hand, mind and spirit, were being actively negotiated.
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