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Gerrit van Honthorst (1590-1656), known today primarily for his candlelight scenes, was also famous during the seventeenth century for his mythological and historical paintings, and was a favorite of the courts 1 in England, Denmark and the Netherlands. It is my intention here to study his oeuvre in order to determine his contribution to the develop ment of Dutch painting at that time. In discussing Honthorst, I have chosen only those paintings which are autograph to avoid basing conclusions upon works of questionable attri bution. The problem paintings which I have decided to be from his hand will be treated in the Catalogue Raisonne. I have dealt with Honthorst's portraiture only in so far as it seemed to be of significance for new trends in Dutch painting. The basic material concerning Honthorst was first published by Pro fessor G.J. Hoogewerff in three articles for Onze Kunst in 1917. In this series of articles Professor Hoogewerff established a chronology of Hont horst's Italian works and gave some indication of his stylistic development.
A fascinating examination of Caravaggio and others who adopted his dramatic style of painting The Italian painter known as Caravaggio (1571-1610) claims a place among the most revolutionary figures in the history of art. His intense naturalism, almost brutal realism, and dramatic use of light had a wide impact on European painters, including Orazio Gentileschi, Valentin de Boulogne, and Gerrit van Honthorst. Each of Caravaggio's followers absorbed something different from his work, propagating his stylistic legacy across Europe. In this extensively illustrated catalogue, Letizia Treves introduces the international Caravaggesque movement and traces the distinct artistic personalities of its leading players. Even now, Caravaggio's name overshadows the other talented artists who adopted his approach to narrative painting: the use of theatrical lighting to illuminate a story encapsulated in a single, dramatic moment. Treves explains the innovative and unifying features of these painters' work and how, despite resistance to their style and subject matter, many outstanding Caravaggesque pictures found their way into important collections. Published by the National Gallery Company/Distributed by Yale University Press Exhibition Schedule: National Gallery, London (10/12/16-01/15/17) National Gallery of Ireland, Dublin (02/11/17-05/14/17) Scottish National Gallery, Edinburgh (06/17/17-09/24/17)
Provides a comprehensive treatment of the achievements of the school of the Dutch Golden Age. The volume is the catalogue for an exhibition at the Fine Arts Museum of San Francisco; the Walters Art Gallery, Baltimore; and the National Gallery, London, (May-July 1998).
The first in-depth study of Hendrick ter Brugghen to address questions beyond connoisseurship and attribution, this book illuminates the complex meanings of some of the Dutch master's works. The author explores in particular Caravaggio's influence, his use of archaism, and materiality in Ter Brugghen's paintings. At the same time, she offers insights into the image debates and status of devotional art in Italy and Utrecht in the seventeenth century.
" ... accompanies the exhibition of the same name organized by the Peabody Essex Museum, Salem, Massachusetts, in conjunction with the Mauritshuis, The Hague. The exhibition is on view from February 26 through June 19, 2011; and travels to the Fine Arts Museums of San Francisco, July 9 through October 2, 2011, and the Museum of Fine Arts, Houston, November 13, 2011 through February 12, 2012"--T.p. verso.
Art historians have long speculated on how Vermeer achieved the uncanny mixture of detached precision, compositional repose, and perspective accuracy that have drawn many to describe his work as "photographic." Indeed, many wonder if Vermeer employed a camera obscura, a primitive form of camera, to enhance his realistic effects? In Vermeer's Camera, Philip Steadman traces the development of the camera obscura--first described by Leonaro da Vinci--weighs the arguments that scholars have made for and against Vermeer's use of the camera, and offers a fascinating examination of the paintings themselves and what they alone can tell us of Vermeer's technique. Vermeer left no record of his method and indeed we know almost nothing of the man nor of how he worked. But by a close and illuminating study of the paintings Steadman concludes that Vermeer did use the camera obscura and shows how the inherent defects in this primitive device enabled Vermeer to achieve some remarkable effects--the slight blurring of image, the absence of sharp lines, the peculiar illusion not of closeness but of distance in the domestic scenes. Steadman argues that the use of the camera also explains some previously unexplainable qualities of Vermeer's art, such as the absence of conventional drawing, the pattern of underpainting in areas of pure tone, the pervasive feeling of reticence that suffuses his canvases, and the almost magical sense that Vermeer is painting not objects but light itself. Drawing on a wealth of Vermeer research and displaying an extraordinary sensitivity to the subtleties of the work itself, Philip Steadman offers in Vermeer's Camera a fresh perspective on some of the most enchanting paintings ever created.
- The Art of Laughter: Humour in Dutch Paintings of the Golden Age presents the first ever overview of humor in seventeenth-century painting - Contains 60 masterpieces from painters such as Rembrandt, Frans Hals, Jan Steen, Gerrit van Honthorst and Judith Leyster Frans Hals is often called 'the master of the laugh.' More than any other painter in the Golden Age, he was able to bring a vitality to his portraits that made it appear as if his models could just step out of the past into the present. Hals was one of the few painters in the seventeenth century who dared portray his figures - often common folk - with a hearty laugh and bared teeth. Merriment and jokes are prominent features in his genre paintings; artists in the Golden Age frequently used it in their work. Now - centuries later - the visual jokes are harder to fathom. A great deal of new research into the field has been carried out, particularly in the last twenty years, and we are beginning to get an idea of the full extent of seventeenth-century humor. Contents: Foreword - The Art of Laughter. Contemporaries on Comic Paintings in the Golden Age - LOL from Bruegel to Brakenburgh - Catalogue - Notes essays - Notes catalogue - Bibliography. Published to accompany an exhibition at Frans Hals Museum, Haarlem, which runs until 18 March 2018.