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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.
During the seventeenth century, Dutch portraits were actively commissioned by corporate groups and by individuals from a range of economic and social classes. Ann Jensen Adams examines four portrait genres - individuals, the family, history portraits, and civic guards. Adams argues that as individuals became unmoored from traditional sources of identity, such as familial lineage, birthplace, and social class, portraits helped them to find security in a self-aware subjectivity and the new social structures that made possible the 'economic miracle' that has come to be known as the Dutch Golden Age.
H. Perry Chapman has produced the first comprehensive treatment of the entire body of Rembrandt's self-portraits in their cultural and historical setting and in the context of the artist's life. Prevailing scholarship has tried to discredit the idea that the self-portraits stemmed from any particular inner need, but Chapman counters by presenting fascinating evidence that they represent a conscious and progressive quest for individual identity in a truly modern sense. "H. Perry Chapman, in my view, gives us the Rembrandt we need in the 1990s. . . . [Her] sensitivity to questions of style and expression, combined with original research, leads to a conclusion . . . that `Rembrandt's lifelong preoccupation with self-portraiture can be seen as a necessary process of identity formation or self-definition'--in short, autobiography."--Walter Liedtke, The Journal of Art "Chapman is a graceful writer. Her arguments are balanced, well documented, and vigorously pursued. . . . The publication of this book is cause for gratitude and joy."--Thomas D'Evelyn, Christian Science Monitor
This volume presents the most noteworthy concepts, artists, and cultural centers of the seventeenth century through a close examination of many of its greatest paintings, sculptures, and buildings. The Baroque, rooted in classicism but with a new emphasis on emotionalism and naturalism, was the leading style of the seventeenth century. The movement exhibited both stylistic complexity and great diversity in its subject matter, from large religious works and history paintings to portraits, landscapes, and scenes of everyday life. Masters of the era included Caravaggio, whose innovations in the dramatic uses of light and shadow influenced many of the century's artists, notably Rembrandt; the sculptor, painter, and architect Bernini, with his combination of technical brilliance and expressiveness; and other familiar names such as Rubens, Poussin, Velázquez, and Vermeer. This was the era of absolute monarchs, including Spain's Habsburgs and Louis XIII and XIV of France, whose artistic patronage helped furnish their opulent palaces. But a new era of commercialism, in which artists increasingly catered to affluent collectors of the professional and merchant classes, also flourished.
"The National Gallery of Art's collection of seventeenth-century Flemish paintings is relatively small, numbering less than sixty, but exceptional in quality. At the core of the collection are twelve paintings by Sir Peter Paul Rubens and his school and seventeen paintings by Sir Anthony van Dyck, including some of their finest masterpieces. Also represented are excellent works by other important Flemish masters, among them Osias Beert the Elder, Adriaen Brouwer, Jan Brueghel the Elder, and David Teniers the Younger." "This catalogue of the Gallery's remarkable collection of Flemish paintings offers new information about each of the individual works. Stylistic characteristics of the paintings have been analyzed; historical circumstances related to their creation have been assessed; and their provenances have been reexamined. A number of the paintings have undergone conservation treatment, while the technical characteristics of other works have been thoroughly studied. This exhaustive research has indicated that the titles, dates, and even attributions of a number of works needed to be changed, and the catalogue includes a concordance of these revisions."--BOOK JACKET.
In the last decade of his life, Anthony van Dyck (1599-1641) undertook a printmaking project that changed the conventions of portraiture. In a series later named the Iconography, he portrayed artists alongside kings, courtiers, and diplomats--a radical departure from preexisting conventions. He also depicted his subjects in novel ways, focusing on their facial features often to the exclusion of symbolic costumes or props. In addition to illustrating approximately 60 works by Van Dyck and other artists from his era--particularly Rembrandt--this catalogue traces the artist's influence over hundreds of years. Showcasing both 17th century portraits in a variety of media and portrait prints by a wide range of artists spanning the 16th through the 20th centuries--including Albrecht Dürer, Hendrick Goltzius, Francisco de Goya, Edgar Degas, and Jim Dine--the book demonstrates the indelible mark that Van Dyck left on the genre.
This volume is the fifth volume of A Corpus of Rembrandt Paintings, a project devoted to all Rembrandt’s paintings. This is the work of ‘The Rembrandt Research Project’, consisting of a group of scholars led since 1993 by Professor Ernst van de Wetering. The project began in 1968 with the aim of separating Rembrandt’s own paintings from the vast number of Rembrandtesque paintings made by his many apprentices and followers. Having opted for a chronological approach to the cataloguing of Rembrandt’s paintings (from 1625 till 1642) in the first three volumes, it was decided in 1993 to adopt a thematic approach for further volumes. This was largely to facilitate the recognition of different hands. The new approach yielded much more information not only about Rembrandt’s working methods but also about the function and meaning of his works. This expanded field of view meant that etchings and drawings with similar themes also needed to be included. In 2005 Volume IV appeared, devoted to Rembrandt’s self-portraits, in painting, etching and drawing. Volume V consists of a catalogue and analysis of the so-called small-scale history and genre paintings. That theme was chosen because this type of complex work shows a variety of full-length protagonists acting in different narrative settings. For this reason, in the 17th century, painting, etching or drawing biblical and mythological scenes was looked upon as an artist’s greatest challenge. The choice of this theme proved to be highly fruitful in several ways. Small-scale history pieces reveal Rembrandt’s artistic ambitions most clearly. They also offer the authors a much more accurate view of the daily routine in Rembrandt’s studio; his apprentices mostly copied this type of work or used it as a starting point for their own. As a result it was easier to distinguish the works by the master himself from those of his pupils. All aspects of the skills necessary to create a pictorial illusion play a part in the creation of small-figured history paintings. These aspects were referred to as ‘the basis of the noble art of painting’ in Rembrandt’s days. Two seventeenth century painter/theoreticians discussed these principles systematically in two books which up till now have only sporadically been consulted in the context of 17th century studio practice. Karel van Mander wrote his Grond der edel vry schilder-const [Basis of the Art of Painting] in 1604 and Samuel van Hoogstraten produced his Inleyding tot de hooge schoole der schilderkonst [Academy of Painting] in 1678. Van Hoogstraten was a pupil of Rembrandt between 1642 and ’48. Comparing the two books and considering them in relation to Rembrandt’s oeuvre, gradually reveals his original views on painting and how these had developed during his career. Thus, the authors of this new Volume of A Corpus have gained an unexpected and profound insight into Rembrandt’s ideas and approach to his art. The ‘basic aspects’ of painting included the following topics: function and methods of drawing; human proportions; various positions, poses and gestures of figures; ways of arranging a scene’s protagonists in a composition; facial expressions of a variety of emotions; light, shadows and reflected light; landscape and animals; draperies and articles of clothing; methods of painting, and various characteristics and uses of colours. The way these ‘basic aspects’ were selected and dealt with presumed that the more practical side to the art of painting would be learned by the apprentice in the daily routine of his master’s studio. With the development of art history in the nineteenth century the ‘basic aspects’ of the art of painting listed above acquired the vague label of ‘style’. However, the seventeenth century categorization of the ‘basic aspects’ provides a much more acute means of probing the views and criteria for judging a painting by Rembrandt and his contemporaries than the concept of ‘style’. Volume V in the series A Corpus of Rembrandt Paintings breaks new ground from the point of view of art history, not only in its approach to Rembrandt as an artist, but more particularly to his thinking about painting. Moreover, a detailed comparison of Rembrandt’s works and those by his apprentices who based their works on his, led to a profound and detailed understanding of Rembrandt’s views on pictorial quality. In art historical literature quality usually does not feature prominently since it is regarded as being too subjective. This comparative approach, together with the analysis of seventeenth century categories of thought about painting, have given the research on Rembrandt a new impetus, at the same time allowing us to see more clearly through seventeenth century eyes. That is why the new volume of the ‘Corpus’ is an important publication – not only for art historians but also for all who want to fully enjoy the numerous works of art that date back to the Dutch Golden Age, now scattered in museums around the world.