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The Antwerp artist Jan van Kessel the Elder (1626-1679) was esteemed throughout Europe for producing finely-wrought, miniature paintings on copper that depict a wide range of flora and fauna, exotic landscapes, and objects of natural artistry (e.g. shells, coral, precious stones). The 'natural' world presented in Van Kessel's art was not a transparent window onto nature, however, but instead was ambitiously crafted through the artist's reappropriation of Antwerp's artistic traditions, material culture, and artisanal knowledge practices. Through a combination of wit, technical virtuosity, self-referentiality, and allusions to local art-historical lineage, Van Kessel's paintings encourage viewers to simultaneously think about art, in terms of collecting, connoisseurship, citation, and media, and think anew about nature. This study uses Van Kessel's art as a distinctive lens through which to examine the relationship between craft, curiosity, and the pursuit of natural knowledge in the early modern period. Each chapter situates Van Kessel within a particular context where art and natural history intersected in late seventeenth-century Antwerp. Taken together, these investigations reveal how his production responded to a unique convergence of circumstances in that city which included the growth of a popular, commercial strand of natural history, a thriving culture of art collecting and connoisseurship focused on local artists, and a burgeoning luxury industry. Van Kessel's material and conceptual interventions into the representation of nature, such as his innovative, painted cabinets without drawers and witty signatures formed from insects and snakes, enabled him to redefine the scope of natural historical illustration and negotiate the value and status of the small-format cabinet picture.
The folder may include clippings, announcements, small exhibition catalogs, and other ephemeral items.
In 1905, eight men from the California Academy of Sciences set sail from San Francisco for a scientific collection expedition in the Galapagos Islands, and by the time they were finished in 1906, they had completed one of the most important expeditions in the history of both evolutionary and conservation science. These scientists collected over 78,000 specimens during their time on the islands, validating the work of Charles Darwin and laying the groundwork for foundational evolution texts like Darwin's Finches. Despite its significance, almost nothing has been written on this voyage, lost amongst discussion of Darwin's trip on the Beagle and the writing of David Lack. In Collecting Evolution, author Matthew James finally tells the story of the 1905 Galapagos expedition. James follows these eight young men aboard the Academy to the Galapagos and back, and reveals the reasons behind the groundbreaking success they had. A current Fellow of the California Academy of Sciences, James uses his access to unpublished writings and photographs to provide unprecedented insight into the expedition. We learn the voyagers' personal stories, and how, for all the scientific progress that was made, just as much intense personal drama unfolded on the trip. This book shares a watershed moment in scientific history, crossed with a maritime adventure. There are four tangential suicides and controversies over credit and fame. Collecting Evolution also explores the personal lives and scientific context that preceded this voyage, including what brought Darwin to the Galapagos on the Beagle voyage seventy years earlier. James discusses how these men thought of themselves as "collectors" before they thought of themselves as scientists, and the implications this had on their approach and their results. In the end, the voyage of the Academy proved to be crucial in the development of evolutionary science as we know it. It is the longest expedition in Galapagos history, and played a critical role in cementing Darwin's legacy. Collecting Evolution brings this extraordinary story of eight scientists and their journey to life.
The Getty Museum's collection of drawings was begun in 1981 with the purchase of a Rembrandt nude and has since become an important repository of European works from the fifteenth through the nineteenth century. As in the first volume devoted to the collection (published in 1988 in English and Italian editions), the text is here organized first by national school, then alphabetically by artist, with individual works arranged chronologically. For each drawing, the authors provide a discussion of the work's style, dating, iconography, and relationship to other works, as well as provenance and a complete bibliography.
According to an old historiographic tradition, the Spanish Golden Age placed the imitation of nature at the service of religion: its radical naturalism responded to the deep faith of that culture and moment. Crime & Illusion argues the opposite. It defends the thesis that the fundamental problem artists of the Golden Age confronted was not imitation but Truth. Moreover a large part, maybe the best part, of Spanish Baroque religious imagery is better understood as a complex exercise in addressing the spectators' doubts. Hovering on the horizon of an emerging empiricism, artists created their images as pieces of evidence, arguments for belief. Crime & Illusion reconstructs and interprets this judicial or forensic aspect of early modern visual culture at the center of a political, religious, and scientific triangle. Finally, the book explores the artists' skeptical reflection on the problematic relationship of painting and sculpture to the art of truth.
Larry Silver investigates the origins of new pictorial types and their media as a phenomenon of sixteenth-century Antwerp and interprets several pictorial genres as he charts their evolution and their role in the development and marketing of individual artistic styles.
A study of drawing and philosophy in artistic practice, important not only for art history but also for literature studies, intellectual history, religious history, history of the book,and history of science. 00Leon Battista Alberti wrote in 'De pictura' (1435) that painting is divine because, ?as they say of friendship, a painting lets the absent be present.? Absence and Presence in Early-Modern Drawing Pedagogy examines this relationship between absent and present objects and subjects in early-modern artistic pedagogy. This book studies the intersections among artistic treatises, natural philosophy and theology from 1400-1700, arguing that drawing pedagogy sought to teach the painting of histories that stimulated in the viewer the sensation of being present before the historical moment, the person, the still life. The manifestation of presence remained not only in the sensation of sight but also in all the sensory perceptions of touch, taste, smell and the sixth sense of sensing, the experience of existence. This book demonstrates the pedagogical means by which artists sought to teach the simulation of presence (and the sensorial perception of absence