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Heda's Banquet Piece, Frans Hals' Willem Coymans, and Rembrandt's Lucretia. Paintings by these and other masters attracted the American collectors P. A. B. Widener, his son Joseph, and Andrew W. Mellon, whose bequests form the heart of the National Gallery's distinguished and remarkably cohesive collection of ninety-one Dutch paintings.
This stunning book presents the very best still lifes produced in the Netherlands at the height of the genre, from the early beginnings in the 16th century, with Pieter Aertsen and Joachim Beuckelaer, to the late highlights in the 18th century, with Rachel Ruysch and Jan van Huysum. Despite the popularity and abundance of flower paintings in modern collections, the book includes a wide range of subjects and styles, from the simple to the complex, the charmingly small to the opulent and extravagant, and from flowers to hunting still lifes or objects in the corner of a painter's studio, along with an occasional trompe l'oeil. The visual delights of still-life painting have a strong historical context. Collectors and connoisseurs purchased them because of their realism, visual appeal, and relevance to their own lives. Poets praised the wonders of still-life paintings and evoked the power of painting to transcend the seasons and the passing of time. Contemporary observers lauded the expensive and elaborate objects often on display. The book therefore considers the visual achievement of the Netherlandish still life painters in the context of contemporary reactions to pictures, art theory, and issues of patronage. Numerous artists were tempted to try their hand at still life, drawn by a new and enchanting genre that allowed an artist to create independent worlds of inanimate objects on the flat surface of a picture -- imaginary realms that had an exceptional following among connoisseurs of the time. These images continue to work their magic on present-day art lovers.
"The need for a guidebook enabling all those interested in Dutch art to find out at a glance which paintings and drawings by particular artists or which works of applied art of various periods are to be found in the major American public collections is so obvious that it comes as a surprise to discover that none as ever been written. Until now anyone wishing to know where Dutch art from past centuries or the not-so-distant past could be seen or studied had to rely on memory or hearsay, or had to consult the countless catalogues and publications of the far flung individual museums. Since a fundamental goal of American collecting has been to educate people about all cultures, Dutch art, like the art of so many other nations, is found in virtually every city and town across the country. . . Now we have a guide that tells us where to find the art that we seek and that gives us a lively but professional analysis of the historical significance of these treasures."--Preface
An illustrated feast for the eye and intellect Dutch Art explores developments in art, art history, art criticism, and cultural history of the Netherlands from the artists' workshops for the Utrecht Dom in 1475 to the latest movements of the 1990s. it is lavishly illustrated with 147 black-and-white photographs and 16 pages in full color. More than 100 internationally recognized scholars, museum professionals, artists, and art critics contributed signed essays to this monumental work, including historians, sociologists, and literary historians.
This essay collection features innovative scholarship on women artists and patrons in the Netherlands 1500-1700. Covering painting, printmaking, and patronage, authors highlight the contributions of women art makers in the Netherlands, showing that women were prominent as creators in their own time and deserve to be recognized as such today.
Reprint of the original, first published in 1871. The publishing house Anatiposi publishes historical books as reprints. Due to their age, these books may have missing pages or inferior quality. Our aim is to preserve these books and make them available to the public so that they do not get lost.
Historians and art historians provide a critique of existing methodologies and an interdisciplinary inquiry into seventeenth-century Dutch art and culture.
Video has commanded a place within the domain of the visual arts since 1965 and has now grown into one of the most widely used forms of art. After the successful introduction of the medium in the United States, Europe followed suit with the Netherlands playing a pioneering role. The video-art circuit in the Netherlands evolved thanks to a unique cross-fertilization of local and international tendencies, and to the provision of workshop facilities by institutions like Het Lijnbaanscentrum, Jan van Eijck Akademie, Monte Video and De Appel. From the early 1970s to the mid-80s, the new medium rapidly achieved maturity, with artists discovering its creative possibilities and documentary expressiveness--but continuously needing to defend its validity. The gradual integration of simpler and cheaper montage techniques in the production process marked a turning point for video art, clearing the way for its assimilation into the art world in the 90s. Recognizing that there are multiple ways to explain and record the development of video art, The Magnetic Era offers a variety of perspectives and themes, as communicated via a range of writers, rather than a strict chronology.
At the end of 1941, Imperial Japan targeted The East Indies in an attempt to secure access to precious oil resources. The Netherlands East Indies Campaign featured complex Japanese and Allied operations, and included the first use of airborne troops in the war. This highly illustrated study is one of the less well-known campaigns of the Pacific War. Imperial Japan's campaigns of conquest in late 1941/early 1942 were launched in order to achieve self-sufficiency for the Japanese people, chiefly in the precious commodity of oil. The Netherlands (or Dutch) East Indies formed one of Japan's primary targets, on account of its abundant rubber plantations and oilfields. The Japanese despatched an enormous naval task force to support the amphibious landings over the vast terrain of the Netherlands East Indies. The combined-arms offensive was divided into three groups: western, centre and eastern. The isolated airfields and oilfields were, however, picked off one by one by the Japanese, in the rush to secure the major islands before major Allied reinforcements arrived. This superbly illustrated title describes the operational plans and conduct of the fighting by the major parties involved, and assesses the performance of the opposing forces on the battlefield, bringing to life an often-overlooked campaign of the Pacific War.