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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.
The appealing genre paintings of great seventeenth-century Dutch artists - Vermeer, Steen, de Hooch, Dou and others - have long enjoyed tremendous popularity. This comprehensive book explores the evolution of genre painting throughout the Dutch Golden Age, beginning in the early 1600s and continuing through the opening years of the next century. Wayne Franits, a well-known scholar of Dutch genre painting, offers a wealth of information about these works as well as about seventeenth-century Dutch culture, its predilections and its prejudices. The author approaches genre paintings from a variety of perspectives, examining their reception among contemporary audiences and setting the works in their political, cultural and economic contexts. The works emerge as distinctly conventional images, Franits shows, as genre artists continually replicated specific styles, motifs and a surprisingly restricted number of themes over the course of several generations. Luxuriously illustrated and with a full representation of the major artists and the cities where genre painting flourished, this book will delight students, scholars and general readers alike.
Encompassing the socio-political, cultural background of the period, this title takes a look at the careers of the Old Masters and many lesser-known artists. The book covers artistic developments across six countries and examines in detail many of the artworks on display.
Historians and art historians provide a critique of existing methodologies and an interdisciplinary inquiry into seventeenth-century Dutch art and culture.
This new edition of an established survey of the Golden Age of Dutch painting has been revised, corrected, and updated in the text, notes, and bibliography as a result of new scholarship. The author has written a new preface to this edition. Rembrandt, Vermeer, Hals, Ruisdael, Cuyp, de Witte, van Goyen, van de Velde, Hobbema, Fabritius, de Hooch, and Saenrendam are some of the painters included and discussed.
If you know the 26 letters of the alphabet and can count to 99 -- or are just learning -- you'll love Tana Hoban's brilliant creation. This innovative concept book is two books in one!
During the seventeenth century, the Dutch Republic was transformed into a leading political power in Europe, with global trading interests. It nurtured some of the period's greatest luminaries, including Rembrandt, Vermeer, Descartes and Spinoza. Long celebrated for its religious tolerance, artistic innovation and economic modernity, the United Provinces of the Netherlands also became known for their involvement with slavery and military repression in Asia, Africa, and the Americas. This Companion provides a compelling overview of the best scholarship on this much debated era, written by a wide range of experts in the field. Unique in its balanced treatment of global, political, socio-economic, literary, artistic, religious, and intellectual history, its nineteen chapters offer an indispensable guide for anyone interested in the world of the Dutch Golden Age.
From peasant fairs and carnival celebrations to lavish al fresco parties, processions and civic guard banquets, the Netherlands in the seventeenth century was a golden age of partying. Celebrating the Golden Age provides a pageant of people making merry through the eyes of Dutch masters Esaias van de Velde, Dirck Hals, Willem Buytewech, Jan Miense Molenaar, Frans Hals and Jan Steen, who was perhaps the ultimate painter of these festivities. This volume brings to life the painted party, with scenes of celebration at weddings, elegant garden parties, carnivals, Twelfth Night and May festivities, masquerades and family gatherings on Saint Nicholas' Eve. A series of essays explicates these narrative scenes: their often sly and humorous views of the values of their time, the role of alcohol and bawdy humor, the ways in which painters persuaded their subjects to pose and what costumes and gestures can reveal when the seventeenth century lets its hair down.
The sets of landscape etchings produced in the second decade of the seventeenth century by Claes Jansz. Visscher, Esaias van den Velde, Willem Buytewech, and Jan van de Velde drew on and contributed to a print culture that played a key role in defining "Dutch" landscape. Examination of these printed landscape series as part of a wide-ranging print culture underscores the consistent interrelationship of landscape, history, and politics. To varying degrees, the contemporaneous descriptive geographies, histories, allegorical tableaux, didactic prints, and poetic anthologies considered in this study provide parallels for the prints' serial structure, journey theme, and commemorative motifs. Moreover, as part of a wider enterprise of Dutch self-definition, they provide cultural guidelines for the interpretation of landscape in prints and paintings. Levesque's study of the Dutch seventeenth-century experience of place is two-tiered. She addresses the journey through landscape as an interpretive framework, the spatial structure of knowledge, the benefits of travel from the point of view of humanists, and the growth of a Dutch national self-consciousness expressed through landscape. She also provides a close reading of the structure and motifs in the print series of Claes Jansz. Visscher, Esaias van den Velde, Willem Buytewech, and Jan van de Velde.