and the Female Nude (Amsterdamse Gouden Eeuw Reeks) (Amsterdam Studies in the Dutch Golden Age)
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1
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Rembrandt and the Female Nude (Amsterdam Studies in the Dutch Golden Age) (2007)
EN PBISBN: 9789053568378 bzw. 9053568379, in Englisch, Amsterdam University Press, Taschenbuch.
Lieferung aus: Vereinigte Staaten von Amerika, Versandkostenfrei.
Von Händler/Antiquariat, Book Deals [60506629], Lewiston, NY, U.S.A.
This Book is in Good Condition. Clean Copy With Light Amount of Wear. 100% Guaranteed. Summary: Preface and Acknowledgments I. Introduction Plates II. Andromeda Chained to the Rock Andromedaby Hendrick Goltzius and his circle The image of Andromeda's plight as metaphor Rembrandt andAndromeda III. Intermezzo: Rembrandt and the Depiction of the Passions in the 1620s and 1630s. Rembrandt, Huygens, rhetoric, and antiquity Samuel van Hoogstraten and Rembrandt'slijdingen des gemoeds A theatrical analogy Rembrandt, Rubens, antiquity, and the passions: a case study IV. Susanna and the Elders Susannain prints of the sixteenth century Susannain the early seventeenth century Rembrandt'sSusannaof 1636 Rembrandt'sSusannaof 1647 Some other AmsterdamSusannasof c. 1640-1660 V. Intermezzo: Images of the Nude: Moral Disapproval and *** Impact Religious outrage Moralizing disapproval *** amusement A 'virtual reality' Playful *** wit in images and texts Paintings with nudes in private homes VI. Diana and Her Nymphs Surprised by Actaeon and the Discovery of Callisto's Pregnancy Diana Surprised by Actaeonin the late sixteenth and early seventeenth centuries The Discovery of Callisto's Pregnancyin the late sixteenth and early seventeenth centuries Rembrandt's painting ofDiana and Her Nymphs Seventeenth-century interpretations of the two fables and Rembrandt's invention VII. Intermezzo: Rembrandt and Notions about Art: 'Coloring' and the "From Life' Ideology Arnold Houbraken, Andries Pels, and Jan Emmens Jan de Bisschop and Joost van den Vondel Giorgio Vasari and Karel van Mander Karel van Mander continued From Rome to Holland: debates in the first half of the seventeenth century Joachim von Sandrart VIII. Danae Legendary paintings ofDanae Titian'sDanae1545 Goltzius'sDanaeof 1603 Ketel, Wtewael, and Bloemaert Back to Rembrandt'sDanae Rembrandt's contemporaries IX. Intermezzo: Imitation, Artistic Competition, and 'Rapen' Van Mander, Angel, Van Hoogstraten, and Houbraken on the subject ofrapen Imitation as part of the learning process and beyond Artistic competition X. Prints and Related Drawings: Modeling and the Nude TheDianaand theNude Woman Seated on the Mound Sleeping Woman Approached by a Satyr The Artist Drawing from the Nude Model ('Pygmalion'): Apelles Drawing Victory? CleopatraandAdam and Eve Studies from the nude model, 1646-1661 Jupiter and Antiope XI. Intermezzo: The Nude, the Artist, and the Female Model The nude and the naked: 'ideal' versus 'real' from Kenneth Clark to the seventeenth century Fictions about the artist and the nude female model Drawing after the nude female model Rembrandt's models: Hendrickje? XII. Bathsheba Contemplating King David's Letter The pictorial tradition Rembrandt's images of.
Von Händler/Antiquariat, Book Deals [60506629], Lewiston, NY, U.S.A.
This Book is in Good Condition. Clean Copy With Light Amount of Wear. 100% Guaranteed. Summary: Preface and Acknowledgments I. Introduction Plates II. Andromeda Chained to the Rock Andromedaby Hendrick Goltzius and his circle The image of Andromeda's plight as metaphor Rembrandt andAndromeda III. Intermezzo: Rembrandt and the Depiction of the Passions in the 1620s and 1630s. Rembrandt, Huygens, rhetoric, and antiquity Samuel van Hoogstraten and Rembrandt'slijdingen des gemoeds A theatrical analogy Rembrandt, Rubens, antiquity, and the passions: a case study IV. Susanna and the Elders Susannain prints of the sixteenth century Susannain the early seventeenth century Rembrandt'sSusannaof 1636 Rembrandt'sSusannaof 1647 Some other AmsterdamSusannasof c. 1640-1660 V. Intermezzo: Images of the Nude: Moral Disapproval and *** Impact Religious outrage Moralizing disapproval *** amusement A 'virtual reality' Playful *** wit in images and texts Paintings with nudes in private homes VI. Diana and Her Nymphs Surprised by Actaeon and the Discovery of Callisto's Pregnancy Diana Surprised by Actaeonin the late sixteenth and early seventeenth centuries The Discovery of Callisto's Pregnancyin the late sixteenth and early seventeenth centuries Rembrandt's painting ofDiana and Her Nymphs Seventeenth-century interpretations of the two fables and Rembrandt's invention VII. Intermezzo: Rembrandt and Notions about Art: 'Coloring' and the "From Life' Ideology Arnold Houbraken, Andries Pels, and Jan Emmens Jan de Bisschop and Joost van den Vondel Giorgio Vasari and Karel van Mander Karel van Mander continued From Rome to Holland: debates in the first half of the seventeenth century Joachim von Sandrart VIII. Danae Legendary paintings ofDanae Titian'sDanae1545 Goltzius'sDanaeof 1603 Ketel, Wtewael, and Bloemaert Back to Rembrandt'sDanae Rembrandt's contemporaries IX. Intermezzo: Imitation, Artistic Competition, and 'Rapen' Van Mander, Angel, Van Hoogstraten, and Houbraken on the subject ofrapen Imitation as part of the learning process and beyond Artistic competition X. Prints and Related Drawings: Modeling and the Nude TheDianaand theNude Woman Seated on the Mound Sleeping Woman Approached by a Satyr The Artist Drawing from the Nude Model ('Pygmalion'): Apelles Drawing Victory? CleopatraandAdam and Eve Studies from the nude model, 1646-1661 Jupiter and Antiope XI. Intermezzo: The Nude, the Artist, and the Female Model The nude and the naked: 'ideal' versus 'real' from Kenneth Clark to the seventeenth century Fictions about the artist and the nude female model Drawing after the nude female model Rembrandt's models: Hendrickje? XII. Bathsheba Contemplating King David's Letter The pictorial tradition Rembrandt's images of.
2
Symbolbild
and the Female Nude
EN NW EB
ISBN: 9789053568378 bzw. 9053568379, in Englisch, 448 Seiten, Amsterdam University Press, neu, E-Book.
Бесплатная доставка, Загрузка, Бесплатная электронная книга.
Rembrandt’s extraordinary paintings of female nudes—Andromeda, Susanna, Diana and her Nymphs, Danaë, Bathsheba—as well as his etchings of nude women, have fascinated many generations of art lovers and art historians. But they also elicited vehement criticism when first shown, described as against-the-grain, anticlassical—even ugly and unpleasant. However, Rembrandt chose conventional subjects, kept close to time-honored pictorial schemes, and was well aware of the high prestige accorded to the depiction of the naked female body. Why, then, do these works deviate so radically from the depictions of nude women by other artists? To answer this question Eric Jan Sluijter, in Rembrandt and the Female Nude, examines Rembrandt’s paintings and etchings against the background of established pictorial traditions in the Netherlands and Italy. Exploring Rembrandt’s intense dialogue with the works of predecessors and peers, Sluijter demonstrates that, more than any other artist, Rembrandt set out to incite the greatest possible empathy in the viewer, an approach that had far-reaching consequences for the moral and erotic implications of the subjects Rembrandt chose to depict. In this richly illustrated study, Sluijter presents an innovative approach to Rembrandt’s views on the art of painting, his attitude towards antiquity and Italian art of the Renaissance, his sustained rivalry with the works of other artists, his handling of the moral and erotic issues inherent in subjects with female nudes, and the nature of his artistic choices.
Rembrandt’s extraordinary paintings of female nudes—Andromeda, Susanna, Diana and her Nymphs, Danaë, Bathsheba—as well as his etchings of nude women, have fascinated many generations of art lovers and art historians. But they also elicited vehement criticism when first shown, described as against-the-grain, anticlassical—even ugly and unpleasant. However, Rembrandt chose conventional subjects, kept close to time-honored pictorial schemes, and was well aware of the high prestige accorded to the depiction of the naked female body. Why, then, do these works deviate so radically from the depictions of nude women by other artists? To answer this question Eric Jan Sluijter, in Rembrandt and the Female Nude, examines Rembrandt’s paintings and etchings against the background of established pictorial traditions in the Netherlands and Italy. Exploring Rembrandt’s intense dialogue with the works of predecessors and peers, Sluijter demonstrates that, more than any other artist, Rembrandt set out to incite the greatest possible empathy in the viewer, an approach that had far-reaching consequences for the moral and erotic implications of the subjects Rembrandt chose to depict. In this richly illustrated study, Sluijter presents an innovative approach to Rembrandt’s views on the art of painting, his attitude towards antiquity and Italian art of the Renaissance, his sustained rivalry with the works of other artists, his handling of the moral and erotic issues inherent in subjects with female nudes, and the nature of his artistic choices.
4
Rembrandt and the Female Nude (Amsterdam Studies in the Dutch Golden Age) (2007)
EN NW FEISBN: 9789053568378 bzw. 9053568379, in Englisch, 448 Seiten, Amsterdam Univ Pr, neu, Erstausgabe.
Lieferung aus: Spanien, Normalmente se envía en el plazo de 1-2 días laborable.
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5
Rembrandt and the Female Nude (Amsterdam Studies in the Dutch Golden Age) (2007)
EN NW FEISBN: 9789053568378 bzw. 9053568379, in Englisch, 448 Seiten, Amsterdam Univ Pr, neu, Erstausgabe.
Lieferung aus: Spanien, Normalmente se envía en el plazo de 1-2 días laborable.
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Die Beschreibung dieses Angebotes ist von geringer Qualität oder in einer Fremdsprache. Trotzdem anzeigen
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6
Rembrandt and the Female Nude (Amsterdam Studies in the Dutch Golden Age) (2006)
EN PB USISBN: 9789053568378 bzw. 9053568379, in Englisch, 448 Seiten, Amsterdam Univ Pr, Taschenbuch, gebraucht.
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