Search results for """ "The Rembrandt""

Book SynopsisThe Dutch Golden Age of painting spawned some of history's greatest artists and artisans, but few can boast the genius and legacy of Rembrandt Harmensz. van Rijn (16061669). Despite never leaving his native Netherlands, Rembrandt projected his oeuvre past the boundaries of his own experience, producing some of art's most diverse and impactful works across portraiture, biblical, allegorical, landscape, and genre scenes. In all their forms, Rembrandt's paintings are built of intricaciesthe totality of each subtle facial wrinkle, gaze, or figure amounting to an emotional force that stands unmatched among his contemporaries and artistic progeny alike.Each work is imbued with feeling. Biblical scenes, like Bathsheba at her Bath, become vehicles for meditations on human longing, probing depths beyond that which is canonized in scripture or depicted in other representations. His portraits, be them of wealthy patrons or tradesmen, communicate the essence of an individual through fine demarcations, their faces bathed in an ethereal light against darkened earthtones. Perhaps most striking, his series of self-portraits is a triumph of the medium; beginning in his youth and spanning until a year prior to his death, Rembrandt's self portraiture is an intimate glimpse into his lifelong process of self-reflection.This XL monograph compiles all 330 of Rembrandt's paintings in stunning reproductions. From Belshazzar's Feast to The Anatomy Lesson of Dr. Nicolaes Tulp, we discover Rembrandt's painted oeuvre like never before.

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Book SynopsisThis sweeping overview of Rembrandt's extraordinary achievement as a draughtsman fills a gap in the otherwise enormous literature on the artist. Beautifully illustrated, mostly in colour, the more than 150 drawings culled from a corpus of some 800 are discussed in detail. The drawings span Rembrandt's entire productive life as an artist, from early self-portraits in the 1620s to late drawings from the 1660s of the victim of an execution, a state coach, and historical and mythological images. The scope of the book allows readers to delve into the very broad range of Rembrandt's oeuvre of drawings.Trade Review'Excellent … fills a real gap in the literature' - Sunday Times'An eloquent introduction to Rembrandt's genius as a draughtsman … here is virtuosity and humanity together, on every page' - Financial Times'Slive's commentary is subtle, erudite and sympathetic' - Sunday Telegraph'A very readable account by a distinguished scholar' - The Art Newspaper'Beautiful … the definitive study' - The Wall Street Journal

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Book SynopsisEven during the artist's lifetime, contemporary art lovers considered Rembrandt van Rijn (1606-1669) to be an exceptional artist. In this revelatory sequel to the acclaimed Rembrandt: The Painter at Work, renowned Rembrandt authority Ernst van de Wetering investigates the painter's considerations that determined the striking changes in his development from an early age onwards. This gorgeously illustrated book explores how Rembrandt achieved mastery by systematic exploration of the 'foundations of the art of painting'. According to written sources from the seventeenth century, which were largely misinterpreted until now, these 'foundations' were considered essential at that time. From his first endeavours in painting, Rembrandt embarked on a journey past these foundations, thus becoming the 'pittore famoso', whom Count Cosimo the Medici visited at the end of his life. Rembrandt never stopped searching for solutions to the pictorial problems that confronted him; this led over time to radical changes that cannot simply be attributed to stylistic evolution or natural development. In a quest as rigorous and novel as the artist's, Van de Wetering reveals how Rembrandt became the revolutionary painter that would continue to fascinate the art world. This ground breaking exploration reconstructs Rembrandt's theories and methods, shedding new light both on the artist's exceptional accomplishments and on the theory and practice of painting in the Dutch Golden Age. Everyone who is interested in the art of painting should read this phenomenal book, because it was written with incredible knowledge and experience on the subject. It shows in a clear and simple way how Rembrandt worked and the things he had to take into account. At the same time it offers a fantastic sample of Rembrandt's life's work, thanks to the well-chosen selection of illustrations. David Rijser, NRC HandelsbladTrade Review"As is always true of Van de Wetering’s writings, his analyses are based on close, repeated looking at Rembrandt’s painting, and looking with the eye of a talented portrait painter. His ability to convey in words what he is convinced Rembrandt was working toward in paint carries conviction. Best of all, his writing forces one back to examine Rembrandt’s paintings, or at least the works in reproduction." - Catherine B. Scallen, Case Western Reserve University, Renaissance Quarterly Vol. LXX, No. 4 "Our overall view of Rembrandt is now on a new plateau and it is appropriate to salute Ernst van de Wetering for his remarkable achievement." -- Burlington Magazine "This lavishly illustrated book is a rare insight into Rembrandt work process and painting theory. A definitive must-have for all serious artists!" -- The Art of Watercolour "Rembrandt: The Painter Thinking is a product of a lifetime of study of Rembrandt, full of wise insights and with a freshness of approach that has long characterised Van de Wetering's work on the artist." -- The Art Newspaper Review 5 stars -- NRC Handelsblad "This is the first time that such an elaborate monography is dedicated to the thinking process of the master. A unique approach!" -- Christus Rex Boekbesprekingen "Een mooi uitgevoerd en fraai geïllustreerd boek" -- NBD Biblion "After the justly praised study of the artist’s practice, Rembrandt: The Painter at Work, Ernst van de Wetering has now produced a no less admirable companion volume devoted to the artist’s theory. Even if he had not played a major part in redefining Rembrandt’s painted oeuvre in the six volumes of the Corpus of Rembrandt’s Paintings, these two complementary books alone would establish his crucial role in understanding Rembrandt’s art." -- Burlington Magazine, february 2017Table of ContentsPreface PART I Profession: painter PART II Towards a reconstruction of Rembrandt's art theory PART III Rembrandt as a searching artist Notes References Appendix Index

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Book SynopsisRembrandt's paintings have been admired throughout centuries because of their artistic freedom. But Rembrandt was also a craftsman whose painting technique was rooted the tradition. This sweeping examination of Rembrandt's oeuvre is the result of a lifelong search for the artist's working methods, his intellectual approach to painting and the way in which his studio functioned. Ernst van de Wetering demonstrates how this knowledge can be used to tackle questions about authenticity and other art-historical issues. Approximately 350 illustrations, half of which are reproduced in colour, make this book into a monumental tribute to one of the worlds most important painters.Trade Review'The book is - if one may be allowed to say such a thing about a serious scholarly work - a gripping good-read.' Christopher White - The Burlington Magazine 'This is a very rich book, a deeply felt analysis of an artist whom the author knows better than almost any other living scholar.' Christopher Brown - Times Literary Supplement 'Who would not have wanted to look over Rembrandt's shoulder while he painted? Among the countless books on Rembrandt, that by Ernst van de Wetering comes closest to conveying something of this experience because the author combines the qualifications of a trained connoisseur and of a practising painter.' Ernst Gombrich

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Book SynopsisFew devotees of the form can approach Rembrandt Harmenszoon van Rijn's radical contributions to self-portraiture. Challenging the conventions enshrined by his predecessors, Rembrandt transformed the art into a fully realized medium capable of communicating emotional depth rather than favorably immortalizing one's likeness in the finest trappings of luxury. With more than 80 works spanning paintings, etchings, and drawings, the Dutchman's lifelong practice of self-portraiture functions as a means of concretizing that which is fleeting. Across four decades, one constant is particularly striking across media and stylesRembrandt's dedication to presenting himself from multiple perspectives, celebrating the multiplicity of the individual and championing the unfiltered portrayal of emotional expression.Apart from the thematic concerns present within Rembrandt's suite of self-portraits, the wor

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Book SynopsisBecause 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.

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Book SynopsisA legendary painting by Rembrandt forms the centerpiece of this exploration of self-portraits by leading artists of the twentieth and twenty-first centuries.Published to commemorate an exhibition presented by Gagosian in partnership with English Heritage, this stunning volume centers on Rembrandt's masterpiece Self-Portrait with Two Circles (c. 1665), from the collection of Kenwood House in London. The painting is considered to be Rembrandt's greatest late self-portrait and is accompanied here by examples of the genre from leading artists of the past one hundred years. These include works by Francis Bacon, Jean-Michel Basquiat, Lucian Freud, and Pablo Picasso, as well as contemporary artists such as Georg Baselitz, Glenn Brown, Urs Fischer, Damien Hirst, Howard Hodgkin, Giuseppe Penone, Richard Prince, Cindy Sherman, and Rudolf Stingel, among others. Also featured is a new work by Jenny Saville, created in response to Rembrandt's masterpiece.Full-color plates of

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Book SynopsisRembrandt's intriguing painting technique stirred the imaginations of art lovers during his lifetime and has done so ever since. This book unravels Rembrandt's pictorial intentions and the variety of materials and techniques he applied to create his fascinating effects.Trade Review"Art lovers from genuine aficionados to weekend museum-goers will find plenty to attract them in this updated reprint."--History Wire "Art lovers from genuine aficionados to weekend museum-goers will find plenty to attract them in this updated reprint."--History Wire

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Book SynopsisThis is the exceptionally rich story of Rembrandt’s fame and influence in Britain. No other nation has witnessed such a passionate – and sometimes eccentric – craziness for Rembrandt’s works. His imagery has become ubiquitous, making him one of the most recognised artists in history. In this book, the world’s leading experts reveal how the taste for Rembrandt’s paintings, drawings and prints evolved, growing into a mania that gripped collectors and art lovers across the country. This reached a fever pitch in the late 1700s, before the dawn of a new century ushered in a re-evaluation of Rembrandt’s reputation and opportunities for the wider public to see his masterpieces for themselves. The story of Rembrandt’s profound and inspirational impact on the British imagination is illustrated by over 130 lavish paintings and drawings by the master himself, as well as by some of Britain’s best-loved artists, including William Hogarth, James Abbott McNeill Whistler, Eduardo Paolozzi and John Bellany.Table of ContentsForeword Introduction 1 Rembrandt’s Fame in Britain, 1630–1900: An Overview Christian Tico Seifert 2 Rembrandt and Britain: The Modern Era Patrick Elliott 3 `The Finest Possible State’: Cataloguing and Collecting Rembrandt’s Prints, c.1700–1840 Stephanie S. Dickey 4 From Studio to Academy: Copying Rembrandt in Eighteenth-century Britain Jonathan Yarker 5 Regarding Rembrandt: Reynolds and Rembrandt Donato Esposito 6 Rembrandt: Paragon of the Etching Revival Peter Black 7 Rembrandt and Britain: A `Picture Flight’ in Three Stages, 1850–1930 M.J. Ripps Catalogue Bibliography

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Book SynopsisEven during the artist's lifetime, contemporary art lovers considered Rembrandt van Rijn (1606-1669) to be an exceptional artist. In this revelatory sequel to the acclaimed Rembrandt: The Painter at Work, renowned Rembrandt authority Ernst van de Wetering investigates the painter's considerations that determined the striking changes in his development from an early age onwards. This gorgeously illustrated book explores how Rembrandt achieved mastery by systematic exploration of the 'foundations of the art of painting'. According to written sources from the seventeenth century, which were largely misinterpreted until now, these 'foundations' were considered essential at that time. From his first endeavours in painting, Rembrandt embarked on a journey past these foundations, thus becoming the 'pittore famoso', whom Count Cosimo the Medici visited at the end of his life. Rembrandt never stopped searching for solutions to the pictorial problems that confronted him; this led over time to radical changes that cannot simply be attributed to stylistic evolution or natural development. In a quest as rigorous and novel as the artist's, Van de Wetering reveals how Rembrandt became the revolutionary painter that would continue to fascinate the art world. This ground breaking exploration reconstructs Rembrandt's theories and methods, shedding new light both on the artist's exceptional accomplishments and on the theory and practice of painting in the Dutch Golden Age.Trade Review"As is always true of Van de Wetering’s writings, his analyses are based on close, repeated looking at Rembrandt’s painting, and looking with the eye of a talented portrait painter. His ability to convey in words what he is convinced Rembrandt was working toward in paint carries conviction. Best of all, his writing forces one back to examine Rembrandt’s paintings, or at least the works in reproduction." - Catherine B. Scallen, Case Western Reserve University, Renaissance Quarterly Vol. LXX, No. 4 "Our overall view of Rembrandt is now on a new plateau and it is appropriate to salute Ernst van de Wetering for his remarkable achievement." -- Burlington Magazine "This lavishly illustrated book is a rare insight into Rembrandt work process and painting theory. A definitive must-have for all serious artists!" -- The Art of Watercolour "Rembrandt: The Painter Thinking is a product of a lifetime of study of Rembrandt, full of wise insights and with a freshness of approach that has long characterised Van de Wetering's work on the artist." -- The Art Newspaper Review 5 stars -- NRC Handelsblad "This is the first time that such an elaborate monography is dedicated to the thinking process of the master. A unique approach!" -- Christus Rex Boekbesprekingen "Een mooi uitgevoerd en fraai geïllustreerd boek" -- NBD Biblion "After the justly praised study of the artist’s practice, Rembrandt: The Painter at Work, Ernst van de Wetering has now produced a no less admirable companion volume devoted to the artist’s theory. Even if he had not played a major part in redefining Rembrandt’s painted oeuvre in the six volumes of the Corpus of Rembrandt’s Paintings, these two complementary books alone would establish his crucial role in understanding Rembrandt’s art." -- Burlington Magazine, February 2017Table of ContentsPreface PART I Profession: painter PART II Towards a reconstruction of Rembrandt's art theory PART III Rembrandt as a searching artist Notes References Appendix Index

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Book SynopsisThis catalogue explores the workings of Rembrandt's studio in the form of drawings made by the master himself and fifteen of his pupils.Trade Review"The challenging task of separating the master's work from pupils is handled with diligence, good judgment, and a freshness of approach."--Historians of Netherlandish Art "Hands down one of the sexiest museum publications in recent memory."--KCRW's Art Talk The challenging task of separating the master s work from pupils is handled with diligence, good judgment, and a freshness of approach. "Historians of Netherlandish Art" """ Hands down one of the sexiest museum publications in recent memory. KCRW s "Art Talk" """ "The challenging task of separating the master's work from pupils is handled with diligence, good judgment, and a freshness of approach."--"Historians of Netherlandish Art""" "Hands down one of the sexiest museum publications in recent memory."--KCRW's "Art Talk""" "Hands down one of the sexiest museum publications in recent memory."-KCRW's "Art Talk" ""

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Book SynopsisRembrandt’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 have also elicited vehement criticism. They were considered against-the-grain, anti-classical, even ugly and unpleasant. However, Rembrandt chose conventional subjects, keeping 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 the author examines Rembrandt’s paintings and etchings against the foil of established pictorial traditions in the Netherlands as well as Italy. Exploring Rembrandt’s intense dialogue with the works of predecessors and peers, the author demonstrates that, more than any other artist, it was Rembrandt’s purpose to incite the greatest possible empathy in the viewer. This had far-reaching consequences for the moral and erotic implications of the subjects Rembrandt chose to depict. In this richly illustrated study the author 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 Rembrandt’s artistic choices. This title was shortlisted for the Charles Rufus Morey Award of the College Art Association in 2007Trade Review"Rembrandt and the Female Nude is the first serious and sustained study of a central problem in the artist's engagement with the antique and Renaissance heritage, as well as the theory of art making as imitation. Eric Jan Sluijter's rich contextualization of some of Rembrandt's most idiosyncratic works makes us see how the artist could have arrived at his uncommonly earthy nudes, and why contemporaries would have found them controversial. But all the fine-grained history does not impede the author's recognition of the visual power of these works, and their resistance to definitive historical explanation." Mariët Westermann - Director and Professor Institute of Fine Arts - New York University|"Sluiijter weet als een van de weinige kunsthistorici technische informatie en gegronde bronnen te combineren met vertellingen die de verbeelding stimuleren en je op een nieuwe manier doen kijken. (..) Rembrandt and the Female Nude leest daarom, hoe wetenschappelijk het boek ook is opgezet, als een trein." Wieteke van Zeil, de Volkskrant|"This book brings us face to face with an artist and an art historian, from whom we may, guiltily want more. It seems greedy to ask, but dare we hope Sluijter might next turn his gaze to some of Rembrandt's other history paintings?" Mia M. Mochizuki - The sixteenth century journal|""This is the kind of book every library should own, the kind of book that every scholar enviously wishes s/he could have written." Larry Silver - Seventeenth Century News|"[Rembrandt and the Female Nude] ... opens a whole new field of scholarly discussion, it augments our knowledge of the theme and it offers genuinely new insights in what was important for Rembrandt as an artist. One cannot ask for much more in a book." Xander van Eck - The Burlington MagazineTable of Contents9789053568378.pdf - 1 Table of Contents - 6 Preface and Acknowledgements - 10 1 Introduction - 16 2 Andromeda Chained to the Rock - 28 3 Intermezzo: Rembrandt and the Depiction of the Passions in the 1620s and 1630s - 52 4 Susanna and the Elders - 66 5 Intermezzo: Images of the Nude: Moral Disapproval and Erotic Impact - 96 6 Diana and Her Nymphs Surprised by Actaeon and the Discovery of Callisto's Pregnancy - 118 7 Intermezzo: Rembrandt and Notions about Art: 'Coloring; and the 'From Life' Ideology - 148 8 Danaë - 174 9 Intermezzo: Imitation, Artistic Competition and Rapen - 204 10 Prints and Related Drawings: Modeling the Nude - 220 11 Intermezzo: The Nude, the Artist, and the Female Model - 264 12 Bathsheba Contemplating King David's Letter - 286 AUP SLUIJTER.REMBRANDT nawerk v03.pdf - 321

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Book SynopsisA beautifully produced catalogue of the Louvre Abu Dhabi exhibition, it includes over 100 artworks by Rembrandt and other key Dutch artists, and texts by key curators in the field

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Book SynopsisRembrandt van Rjin (1606-1669) was among the few celebrated old masters who enjoyed considerable freedom in his choice of subject matter. This study explores some of the central themes of Rembrandt's paintings, drawings and etchings: grand - love, sin, repentance and forgiveness, adultery, fatherhood, and the conflict between the generations.

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Book SynopsisA beautiful clothbound volume situating Rembrandt among the Dutch Golden Age’s most celebrated portraitists Having inspired fervent study for centuries, Rembrandt and his Dutch Golden Age contemporaries are admired especially for their portraiture, with Rembrandt in particular having captured a liveliness in his subjects that continues to inspire artists today. In the 17th century, there was a significant market demand for portraits among Amsterdam’s upper class; like Rembrandt, painters such as Thomas de Keyser (c. 1596-1667), Frans Hals (c. 1582-1666) and later Bartholomeus van der Helst (1613-70) relied on these commissions for a critical portion of their income and thus created a wealth of paintings depicting various sitters. Helmed by Amsterdam Museum curator Norbert Middelkoop, this 2020 Museo Nacional Thyssen-Bornemisza exhibit presents 20 painted portraits and 20 engravings by Rembrandt and some 60 pieces by his contemporaries in a comprehensive survey that reveals the everlasting quality of these works. This clothbound volume accompanies the exhibit and includes color reproductions of key pieces as well as research into the stories behind the paintings’ subjects: married couples, craftsmen at work, children, scholars, businessmen, the artists themselves and important group portraits.Rembrandt Harmenszoon van Rjin (1606-69), better known by the mononym Rembrandt, was a draftsman, printmaker, art collector and painter whose tremendous output of work helped define the Dutch Golden Age. Although he died in near poverty, Rembrandt is now widely understood as one of the greatest and most-studied artists in the Western canon.

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Book SynopsisExplores Rembrandt's unique approach to depicting the nature of divine encounter and the complexities of its representation. Rembrandt took an unusual and dramatic approach to biblical subjects, exploring the nature of divine encounter and the complexities of its representation, making use of the viewer's knowledge of the subject whilst finding ways to bring the familiar to life. Discussions about what we see as opposed to what we know were prevalent in the religious, artistic, scientific, and philosophical thinking of the period. It was left to artists to portray divine encounter in pictorial form. This new, scholarly volume brings together 10 works by Rembrandt which portray biblical episodes, examining these works as a group and considering them in context. AUTHOR: Joanna Sheers Seidenstein is the 2015–17 Anne L. Poulet Curatorial Fellow at The Frick Collection, New York. She is a doctoral candidate at New York University's Institute of Fine Arts, where she is writing a dissertation on Rembrandt's treatments of themes from classical antiquity. SELLING POINTS: . Features a rarely exhibited painting by Rembrandt van Rijn alongside other religious works by the artist and his contemporaries . Helps readers understand what Rembrandt's influences and intentions were in the context of the theological and artistic debates of the 17th-century 31 colour images

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Book SynopsisThe earliest painting by Rembrandt whose owner is documented depicts the prophet Balaam, on his way to blessing Israel. The man who bought it was a Sephardi Jew in the service of Cardinal Richelieu of France. The first known buyer of an etching plate by Rembrandt, depicting Abraham Dismissing Hagar and Ishmael, was a Sephardi Jew of Amsterdam. Seen through their eyes, Rembrandt was the creator of images with a special meaning to Jews. They have been followed through the centuries by Jewish collectors, Jewish art historians, Jewish artists who saw their own deepest concerns modelled in his art and life, and even prominent rabbis, one of whom said that Rembrandt was a Tzadik, a holy man blessed by God. This book is the first study in depth of the potent bond between Rembrandt and Jews, from his time to ours, a bond that has penetrated the image of the artist and the people alike.Table of ContentsAcknowledgments Introduction – Mirjam Knotter and Gary Schwartz Jews and Judaism in Rembrandt’s Own World Sephardi Jewish Life and Material Culture in Rembrandt’s Time – Mirjam Knotter Rembrandt and His (Jewish) Neighbors. A Stroll Through the Neighborhood – Mirjam Knotter Rembrandt’s Other Jews. The Amsterdam Ashkenazim in the Seventeenth Century – Bart Wallet Map with residents and owners of houses in and around the Jodenbreestraat in Rembrandt’s time (ca. 1625–1658) – Mirjam Knotter and Guido Leguit Society, Spirituality, Imagery Jews and Black People in Rembrandt’s Art – Michael Zell Rembrandt, Menasseh ben Israel and Spinoza – Steven Nadler Rembrandt, the Jews and Judaism – Shelley Perlove Jewish Brides, Rabbis and Sitters in Rembrandt’s Prints – Roman Grigoryev Jewish Artists Modern Jewish Artists Discover Rembrandt – Larry Silver Laying it on Thick: British (Immigrant) Artists and their Rembrandt – Simon Schama Rembrandt and Russian Jewish Artists – Nina Getashvili Jewish Collectors and Museums Rembrandt as Seen by Jewish Museums – Laurence Sigal-Klagsbald Jewish Collectors Take Rembrandt to their Hearts – Gary Schwartz About the Authors Bibliography Index

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Book SynopsisLonglisted for the Historical Writers Association debut novel award 2016.Hendrickje, a young girl from a strict Calvinist family, leaves home to find work as a maid. Entering Rembrandt's flourishing and busy household after the death of the great artist's wife, she finds a world filled with secrets and desire.Shocked to the core after discovering the intense relationship between Rembrandt and Geertje, his housekeeper, Hendrickje is nevertheless slowly drawn to Rembrandt by his freshness, by his freedom, by his intensity.Rembrandt's Mirror explores the three women of Rembrandt's life, and the towering passions of the artist, seen through the eyes of his last, great love, Hendrickje.Trade ReviewThis commendable debut does for Rembrandt what Girl With A Pearl Earring did for Vermeer. * Mail on Sunday *Laced with painterly description and art theory ... a powerful and compelling story. * Sunday Telegraph *The relationship between the painter and the young servant develops into a moving affirmation of the importance of love in the face of the mortality that Rembrandt reflects in his art. * Sunday Times *An impressively detailed and emotional read. * Daily Mail *Rembrandt's Mirror provides a powerful portrait of a genius * BBC History Magazine *Characters are fully drawn and empathetic and Devereux uses words like watercolours - her descriptions are vital and give the book an authenticity that transports the reader back to the 1600s. * Buzz Magazine *If you liked Tracy Chevalier's Girl with a Pearl Earring, I don't see how you can help liking this delightful novel about the Rembrandt household; fiction is a lovely way to imbibe the history of great art... A brilliant portrait of Rembrandt, and his women. * Saga Magazine *

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Book SynopsisTwo families, one terrible secret, and a painting to die for . . .Glastonbury, an art restorer, has been brutally murdered, and the newly discovered Rembrandt he was working on has disappeared.For spy turned art restorer Gabriel Allon, it has been six months since his final showdown with the murderous Russian oligarch and arms dealer Ivan Kharkov. He has severed his ties with the Office with only one thing in mind: recovery. But this unspeakable act of violence once again draws Allon into a world of danger he thought he had left behind for ever.Allon is persuaded to use his unique skills to trace the painting and those responsible for the crimes. As he investigates, he discovers there are terrible secrets connected to the painting, and terrible men behind them. Before he is done, he will have undertaken a journey through some of the twentieth century''s darkest history - and come face to face with some of the same darkness within himself.

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Book SynopsisA centuries-old conspiracy is about to explode into the present with devastating consequences. The first victim was forced to swallow stones. The second was whipped to death. The third was stabbed in the heart. A deadly serial killer is taking people down across London and New York. What did they all know? Why were they butchered? Who else is in the killer's sights? And how can they be stopped? Inspired by real events in the artist's life, The Rembrandt Secret is an incredible page-turner that combines deadly murder and the hidden truth behind one of the world's most famous artists.

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Book SynopsisHighlights from the palatial Hermitage Museum in St. Petersburg, Russia, are beautifully reproduced in an accessible volume celebrating the museum's 250th anniversary. For 250 years, the State Hermitage Museum has been one of the world's most palatial and significant museums. The Hermitage collections were developed beginning in 1764 by Catherine the Great, Empress of Russia, and now encompass more than 3 million works of art and artifacts displayed within a spectacular architectural ensemble, the heart of which is the famed Winter Palace. Now, on this important anniversary, this stunning volume captures the masterpieces that make this world-famous institution a cultural destination and a global treasure.The Hermitage: 250 Masterworks explores this sumptuous collection in the manner of a private tour, showcasing the museum's extraordinary and uniquely underpublished treasures: no other institution has thirty-six Rembrandts; works by Italian Renaissance artists incluTrade Review"Highlights from the palatial Hermitage Museum in St. Petersburg, Russia, are beautifully reproduced in an accessible volume celebrating the museum's 250th anniversary." -Publishers Weekly

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Book SynopsisLearning to Look at Paintings is an accessible guide to the study and appraisal of paintings, drawings and prints. Mary Acton shows how you can develop visual, analytical and historical skills in learning to look at and understand an image by analysing how it works, what its pictorial elements are and how they relate to each other. This fully revised and updated new edition is illustrated with over 100 images by a wide range of Western European and American artists, ranging from Rembrandt, Van Gogh and Botticelli to Picasso, Matisse and Rothko, and now includes modern and contemporary artists such as Georgia O'Keeffe, Anselm Kiefer, Tacita Dean and Marlene Dumas. In addition, Mary Acton presents new examples highlighting the survival and revival of painting in recent years.A new introduction situates the book in the wider context of recent changes in the approach to Art History. A glossary of critical and technical terms used in the language of Art History is also included, with an updated but still selective reading list. Trade Review'Each of the six chapters has a succint introduction and a short but useful summary... Recommended.' - CHOICE'Each of the six chapters has a succint introduction and a short but useful summary... Recommended.' – CHOICETable of ContentsIntroduction to the Second Edition List of Figures List of Plates Preface Acknowledgements Introduction 1. Composition 2. Space 3. Form 4. Tone 5. Colour 6. Subject Matter 7. Drawing and its Purposes 8. Looking at Prints. Conclusion: The Use of Comparison as an Aid to Looking. Appendix 1: Some Questions to Ask Yourself When Standing in Front of a Painting Appendix 2: Glossary of Art Terms. References and Further Reading. Index

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Book SynopsisTrade Review"Little is known about the Dutch painter Frans Hals: no letters or diaries survive, and the only contemporary documents are unrevealing. But Nadler manages to construct a satisfying quasi-biography by using the milieu of seventeenth-century Haarlem. . . . Though Hals has long been overshadowed by his contemporary Rembrandt, Nadler demonstrates why his peers held him to be 'the modern painter par excellence.'" * New Yorker *“Hals may have become famous for his lifelike portraits, but the only way to depict his own life, Nadler suggests in The Portraitist, is to paint a picture of the social world in which he was embedded. As Nadler acknowledges, this is a book whose subject ‘all too often . . . disappear[s] from view.’” * New York Review of Books *"Splendid." -- Ian Buruma * Times Literary Supplement *"Nadler laments the absence of biographical material about Hals, but does a wonderful job of bringing the social context of his art to life in intricate and lively detail. In so doing, he brings this incomparable artist to life as well." * Literary Review *Named one of the best books of 2022. * New Yorker *"In The Portraitist, [Nadler] closes in on his subject, as it were. By sketching the artistic, social, political and religious milieus and the elite subjects who came to Hals for portraits and civic guard pieces, Nadler sketches a sharp picture of the politically turbulent first half of the seventeenth century and Hals’ position therein. This results in a quasi-biography which brings Hals to life in a refined way." * NRC Handelsblad *"[The Portraitist] is stylistically much like a portrait by the master: broadly sweeping strokes situate the geopolitical context and are embellished by microhistorical details relating to the art market and to Hals’s family and his patrons. The paintings serve as focal points along the way. Though much about Hals’s life remains unknown, Nadler’s portrait of the age in which he worked is clearly and astutely evoked. . . . Recommended." * Choice *"Nadler’s biography of Frans Hals discusses the life and legacy of the Dutch 17th-century painter against the backdrop of his thriving adopted city of Haarlem, delving into the artistic, social, political, and religious worlds of the time." * The Art Newspaper *"Nadler is particularly adept at illuminating the details of the lives of Hals’s sitters and how they connect to the ebbs and flows of religious power struggles, inside and outside the Dutch Republic. The resulting image is one of a flexible artist willing to work for individuals of different faiths. At the same time, Nadler casts Hals as an artist who had to navigate a complex, and frequently shifting, religious environment in a never-ending search for commissions and sales. Nadler’s illumination of Hals’s network is particularly useful in the various passages related to the painter’s family. Nadler expertly gathers information about Hals’s grandparents, parents, and their relations in Antwerp before the young Hals relocated to Haarlem by 1591. . . . Nadler’s book is an informative volume crafted in engaging prose. " * Historians of Netherlandish Art Reviews *"Framed by the religious upheavals of the era, situated solidly in the art world of the Dutch Republic, and defining Hals’ accomplishments, Nadler’s accessible and convincing portrait presents a politically pliant and religiously ambiguous man with loose narrative brushstrokes similar to those used by the genius himself." * Booklist *“Nadler has made 17th-century Holland his own special province. This polymath historian of philosophy has already built onto his expertise about Spinoza and Descartes with truly interdisciplinary studies, including Rembrandt’s Jews and Menasseh Ben Israel. Now he makes his own portrait of Rembrandt’s contemporary, Frans Hals, and his Haarlem society. Nadler’s deep research provides the first thorough biography of Hals, the painter who for half a century boldly fashioned lively likenesses of his fellow citizens onto his canvases.” -- Larry Silver, author of Rembrandt’s Holland“This welcome new book on Frans Hals situates the artist, his patrons, and his city in a broader perspective than any previous study. We learn about circumstances in his life and milieu that were surely of influence on Hals’s paintings. Much to our benefit, Nadler delves into matters that we tend to take for granted.” -- Gary Schwartz, author of Rembrandt’s Universe“Nadler has masterfully brought Frans Hals to life much as this remarkable seventeenth-century Haarlem artist animated sitters in his portrait paintings. Nadler’s engaging narrative draws the reader close to the artist and captures the essence of his distinctive manner of painting. He introduces us to Hals’s family, enumerates Hals’s financial woes, and assesses the personalities of his sitters, among them merchants, ministers, officers in militia companies, and directors of charitable institutions. Seamlessly fusing these narratives, Nadler evokes the ambiance of Haarlem’s rich and varied culture, but he also explores how broader political and religious developments in the Dutch Republic impacted Hals throughout his career.” -- Arthur K. Wheelock Jr., author of Clouds, Ice, and Bounty: The Lee and Juliet Fund Collection of Seventeenth-Century Dutch and Flemish PaintingsTable of ContentsList of Illustrations Introduction 1. Exile 2. Haarlem 3. Master Painter 4. Citizen Hals 5. In a Rough Manner 6. "Very Boldly Done after Life" 7. Debts and Disputes 8. Pandemics 9. "A Pleasing, Good and Sincere Peace" 10. Denouement Acknowledgments Notes References Index

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Book SynopsisExamines the relationship between war painting and collective memory in Australia, Austria, Belgium, Canada, Croatia, France, Germany, Great Britain, New Zealand, Russia, Serbia, Turkey, and the United States. The paintings discussed vary tremendously, ranging from public murals and panoramas to works on a far more intimate scale.Trade ReviewPortraits of Remembrance is a welcome addition to scholarship on commemoration and memory of the First World War." - Pearl James, author of The New Death: American Modernism and World War ITable of Contents List of Illustrations Acknowledgments Introduction Painting, Memory, and the First World War Margaret Hutchison and Steven Trout Chapter 1. En Souvenir: Albert Herter's Le DÉpart des Poilus, at Paris-Est Mark Levitch Chapter 2. Romaine Brooks's La France CroisÉe: Allegory, Androgyny, and Appropriation Elizabeth Richards Rivenbark 000 Chapter 3. A “rush frÉnÉtique”: Representation, Memory, and Georges Scott's La Brigade Marine AmÉricaine au Bois de Belleau Steven Trout Chapter 4. An Ambivalent Patriot: Namik Ismail, the First World War, and the Politics of Remembrance in Turkey Gizem Tongo Chapter 5. Albin Egger-Lienz's Die Namenlosen 1914: Vienna Painters and the Great War Philip D. Beidler Chapter 6. Russia, Memory, and the Great War: Kuzma Petrov-Vodkin's In the Line of Fire Andrew M. Nedd Chapter 7. The Canadians Opposite Lens: Augustus John's Unfinished First World War Canadian Masterpiece Laura Brandon Chapter 8. Sacrifice, Grief, and National Memory in George Edmund Butler's Butte de Polygon Caroline Lord Chapter 9. Gatekeeper of Memory: The Australian War Memorial and Charles Bryant's HMAS Australia on the Way to Her Doom Margaret Hutchison Chapter 10. Fortunino Matania's Goodbye, Old Man Marguerite Helmers Chapter 11. James Clark's The Great Sacrifice Peter Harrington Chapter 12. Maksimilijan Vanka's Our Mothers and the Croatian Memory of the First World War Heidi A. Cook Chapter 13. Der Krieg: Otto Dix's War Triptych, Memory, and the Perception of the First World War Martin Bayer Chapter 14. From Propaganda to Remembrance: Alfred Bastien's The Panorama of the Yser Battle Sandrine Smets Afterword Jay Winter Bibliography Contributors Index

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Book Synopsis"Hall’s consummate history is not just the story of the evolution of one of the world’s great collections… The book is also a through-the-keyhole insight into the shifting tastes, good or bad, of 1,000 years of monarchs."- The TimesThe Royal Collection is the last great collection formed by the European monarchies to have survived into the twenty-first century. Containing over a million artworks and objects, it covers all aspects of the fine and decorative arts, from paintings by Rembrandt and Michelangelo to grand sculpture, Fabergé eggs and some of the most exquisite furniture ever made. The Royal Collection also offers a revealing insight into the history of the British monarchy from William the Conqueror to Queen Elizabeth II, recording the tastes and obsessions of kings and queens over the past 500 years. With unprecedented access to the royal residences of St James' Palace, Windsor Castle and Buckingham Palace, Art, Passion & Power traces the history of this national institution from the Middle Ages to the present day, exploring how royalty used the arts to strengthen their position as rulers by divine right and celebrating treasures from the Crown Jewels to the "Abraham" tapestries in Hampton Court Palace. Author Michael Hall examines the monarchy's response to changing attitudes to the arts and sciences during the Enlightenment and celebrates the British monarchy's role in the democratisation of art in the modern world. Packed with glimpses of rarely seen artworks, Art, Passion & Power is a visual treat for all art enthusiasts. Accompanying the BBC television series and a major exhibition at the Royal Academy, Art, Passion & Power is the definitive statement on the British monarchy's treasures of the art world.

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Book SynopsisWithout light, there is no photograph. As almost every photographer knows, the word "photograph" has its roots in two Greek words that, together, mean "drawing with light." But what is less commonly acknowledged and understood is the role that shadow plays in creating striking, expressive imagery, especially in portraiture. It is through deft, nuanced use of both light and shadow that you can move beyond shooting simply ordinary, competent headshots into the realm of creating dramatic portraiture that can so powerfully convey a subject's inner essence, communicate a personal narrative, and express your photographic vision.In The Dramatic Portrait: The Art of Crafting Light and Shadow, Chris Knight addresses portraiture with a unique approach to both light and shadow that allows you to improve and elevate your own portraiture. He begins with the history of portraiture, from the early work of Egyptians and Greeks to the sublime treatment of light and subject by artists such as Caravaggio, Rembrandt, and Vermeer. Chris then dives into a deep, hands-on exploration of light, shadow, and portraiture, offering numerous lessons and takeaways.

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Book SynopsisA biography of the early years of Descartes, which reveal a very active man in Europe’s complicated political and social scene—a courtier, teacher, thinker, and possibly even a spy.Trade Review"Anyone who starts reading will quickly be drawn into the life of a young and intriguing French noble who only gradually found his way to becoming the Descartes later generations know, love, or sometimes hate. This is a fascinating study of the personal, social, and political complications of living in early seventeenth-century Europe, just as the modern nation-state was starting to form."--Dennis L. Sepper, University of Dallas "Cook does a very fine job of weaving Descartes into the complex world of seventeenth-century Europe: its politics and especially its military campaigns. He's written a book that--provocatively and compellingly--seats intellectual history in the real world and helps make Descartes into a real human being."--Russell Shorto, author of Descartes' Bones: A Skeletal History of the Conflict between Faith and Reason "The Young Descartes is an engaging and intriguing work. Harold Cook follows Rene Descartes through the political minefields of the French court, riven by the rivalry between Marie de Medici and her son, Louis XIII, and his eminence grise, the formidable Cardinal Richelieu, and over the dangerous intellectual terrain of the seventeenth century, into a world that is rich while also complex, contested, and often veiled by caution or secrecy. This book makes central the fact that Descartes, frequently relegated to the status of arm-chair philosopher, actually traveled widely, indeed, almost incessantly for crucial periods of his life, and asks important questions about where he traveled and to what ends."--Kathleen Wellman, Southern Methodist University

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Book SynopsisHow artists at the turn of the twentieth century broke with traditional ways of posing the bodies of human figures to reflect modern understandings of human consciousness. Trade Review"Butterfield-Rosen's strategy of examining the disposition of poses in order to contribute to histories of the self is nothing short of a brilliant, and her discussion of the trafficking between abstract concepts and concrete practices is rigorous, original, and convincing. This is an area in which the discipline of art history is in a privileged position to contribute to a broader history of ideas, and she makes skillful use of the weapons in an art historian's arsenal, including formal and iconographic analysis." --Zeynep Celik Alexander, author of Kinaesthetic Knowing: Aesthetics, Epistemology, Modern Design "Modern Art and the Remaking of Human Disposition is original, creative, erudite, soundly argued, and convincingly substantiated. It constitutes an important intervention in the history of late nineteenth-century and early twentieth-century European art, offering a subtle linkage between aesthetic theory and socio-psychological conceptions of selfhood."--Juliet Bellow, author of Modernism on Stage: The Ballets Russes and the Parisian Avant-GardeTable of ContentsIntroduction One Figures of Thought: Poseuses and the Controversy of the Grande Jatte Two Beethoven’s Farewell: The Creative Genius “in the Claws of the Secession” Three The Mise-en-scène of Dreams: L’Après-midi d’un faune Acknowledgments Notes Index

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Book SynopsisMessa da Requiem is the fourth work to be published in The Works of Giuseppe Verdi. Following the strict requirements of the series, this edition is based on Verdi's autograph and other authentic sources, and has been reviewed by a distinguished editorial boardPhilip Gossett (general editor), Julian Budden, Martin Chusid, Francesco Degrada, Ursula Günther, Giorgio Pestelli, and Pierluigi Petrobelli. It is available as a two-volume set: a full orchestral score and a critical commentary. The appendixes include two pieces from the compositional history of the Requiem: an early version of the Libera me, composed in 1869 as part of a collaborative work planned as a memorial to Rossini; and the Liber scriptus, which in the original score of the Manzoni memorial Requiem was composed as a fugue in G minor. The score, which has been beautifully bound and autographed, is printed on high-grade paper in an oversized format. The introduction to the score discusses the work's genesis, instrumentatio

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Book SynopsisWith this widely acclaimed work, Fried revised the way in which eighteenth-century French painting and criticism were viewed and understood."A reinterpretation supported by immense learning and by a series of brilliantly perceptive readings of paintings and criticism alike. . . . An exhilarating book."--John Barrell, "London Review of Books"

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Book SynopsisDyslexia-Friendly Edition of the Women's Prize longlisted international bestseller.

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Book SynopsisFrom autobiographical writings, this book reconstructs the extraordinary life of Thomas Platter and the lives of his sons. It expands the historical contexts of these accounts and, in the process, brings to life the customs, perceptions and character of an age on the threshold of modernity.

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