This richly illustrated monograph brings to light, for the first time, the oeuvre of a painter, called the most talented of his generation by David Freedberg. It consists of portraits and altarpieces, devotional paintings and chiaroscuro prints. The rediscovery of Adriaen Thomasz Key's art will be an eye opener to all scholars interested in the Netherlandish Renaissance.
How today’s questions surrounding monuments and the ways we commemorate our past first arose in Rembrandt’s time Monuments occupy a controversial place in nations founded on principles of freedom and self-governance. It is no accident that when we think of monuments, we think of statues modeled on legacies of conquest, domination, and violence. The Monument’s End reveals how the artists, architects, poets, and scholars of the early modern Netherlands contended with the profound disconnect between the public monument and the ideals of republican government. Their experiences offer vital lessons about the making, reception, and destruction of monuments in the present. In the seventeenth century, the newly formed Dutch Republic dominated world trade and colonized vast overseas territories even as it sought to shed the trappings of its imperial past. Marisa Anne Bass describes the frustrated attempts by figures such as Rembrandt van Rijn and playwright and poet Joost van den Vondel to reimagine public memory for their emergent nation. She shows how the most celebrated age of Dutch art was more an age of bronze than of gold, one in which the pursuit of freedom from domination was constantly challenged by the commercial ambitions of empire. Exploring how the artists and intellectuals of this vibrant century asked questions that still resonate today, this beautifully illustrated book discusses works by contemporary artists such as Spencer Finch and Thomas Hirschhorn and offers new perspectives on monuments like the 9/11 Memorial and Museum and events such as the Unite the Right rally in Charlottesville.
The first book-length study of household servants and slaves, exploring a visual history over 400 years and four continents The first book-length study of both images of ordinary household workers and their material culture, Household Servants and Slaves: A Visual History, 1300-1700 covers four hundred years and four continents, facilitating a better understanding of the changes in service that occurred as Europe developed a monetary economy, global trade, and colonialism. Diane Wolfthal presents new interpretations of artists including the Limbourg brothers, Albrecht Dürer, Paolo Veronese, and Diego Velázquez, but also explores numerous long-neglected objects, including independent portraits of ordinary servants, servant dolls and their miniature cleaning utensils, and dummy boards, candlesticks, and tablestands in the form of servants and slaves. Wolfthal analyzes the intersection of class, race, and gender while also interrogating the ideology of service, investigating both the material conditions of household workers' lives and the immaterial qualities with which they were associated. If images repeatedly relegated servants to the background, then this book does the reverse: it foregrounds these figures in order to better understand the ideological and aesthetic functions that they served.
The Grove Encyclopedia of Northern Renaissance Art provides unparalleled scope and depth in a field that has inspired and informed Western art for centuries. Drawing on the unsurpassed scholarship on the Renaissance in Northern Europe in The Dictionary of Art, the Encyclopedia deals with all aspects of Northern Renaissance art ranging from artists, architecture, and patrons to the cities and centers of production vital to the flourishing of art in this period. It offers fully updated articles and bibliography as well as more than 500 illustrations, maps, drawings, diagrams, and color plates. Comprehensive and engaging, this resource is an essential and accessible reference for students, researchers, and scholars researching in this important area.
The Symposium XVI for the Study of Underdrawing and Technology in Painting. The Quest for the Original, Bruges-September 2006, was organized by the Laboratoire d'etude des uvres d'art of the Universite catholique de Louvain, in collaboration with Illuminare, Centre for the Study of Illuminated Manuscripts of the KULeuven and KIKIRPA, Royal Institute for Cultural Heritage, Brussels. Articles are on painting of the Low Countries, Italy, France, Germany, Denmark... between medieval and modern times, not only easelpainting, but also bookillumination, painting on glas and ceramics and framing in the Southern Netherlands (15th until 17th c.). Some methodological issues are discussed. Molly Faries accepted to share her experience for an update on equipments for examination of paintings in the Infrared. The organizers had received for presentation in Bruges more interesting papers than they could accept; they include some of them in this publication. The volume also presents a bibliography in the infrared studies for the years 2005-2007.
The National Gallery, London possesses an important collection of paintings by 16th-century Netherlandish artists, including Joachim Beuckelaer, Hieronymus Bosch, Pieter Bruegel the Elder, Jean Gossart, and Quinten Massys. They are grouped here with a small number of French paintings, some by artists who came from the Low Countries (Corneille de Lyon, probably Jean Hey, and perhaps the Master of Saint Giles). Lorne Campbell's catalogue is a model of scholarship; he examined all the pictures with conservators and rigorously researched their histories, subjects, and styles. New discoveries about artists' techniques and practices have led to many reattributions, and the rescue from anonymity of over twenty paintings. The identities of several patrons are established or suggested, while an introductory essay explains how contemporaries regarded these paintings. Generously illustrated, with many details and technical photographs, and beautifully produced, this comprehensive catalogue is essential reading for scholars, while also introducing general readers to a vital part of the Gallery's collection. Published by National Gallery Company/Distributed by Yale University Press
