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Although Americans have shown interest in Italian Baroque art since the eighteenth century—Thomas Jefferson bought copies of works by Salvator Rosa and Guido Reni for his art gallery at Monticello, and the seventeenth-century Bolognese school was admired by painters Benjamin West and John Singleton Copley—a widespread appetite for it only took hold in the early to mid-twentieth century. Buying Baroque tells this history through the personalities involved and the culture of collecting in the United States. The distinguished contributors to this volume examine the dealers, auction houses, and commercial galleries that provided access to Baroque paintings, as well as the collectors, curators, and museum directors who acquired and shaped American perceptions about these works, including Charles Eliot Norton, John W. Ringling, A. Everett Austin Jr., and Samuel H. Kress. These essays explore aesthetic trends and influences to show why Americans developed an increasingly sophisticated taste for Baroque art between the late eighteenth century and the 1920s, and they trace the fervent peak of interest during the 1950s and 1960s. A wide-ranging, in-depth look at the collecting of seventeenth- and eighteenth-century Italian paintings in America, this volume sheds new light on the cultural conditions that led collectors to value Baroque art and the significant effects of their efforts on America’s greatest museums and galleries. In addition to the editor, contributors include Andrea Bayer, Virginia Brilliant, Andria Derstine, Marco Grassi, Ian Kennedy, J. Patrice Marandel, Pablo Pérez d’Ors, Richard E. Spear, and Eric M. Zafran.
Earls provides biographical chapters for each of the 10 most famous artists from the European Renaissance.
"Joos van Cleve (active 1505/08-1540/41), an accomplished and influential Netherlandish artist, and a superb technician and sensitive colorist, created some of the most attractive and endearing images in northern Renaissance painting. In this book - the first major study of Joos in nearly eighty years - the foremost authority on the artist provides a complete and up-to-date account of Joos's life and works." "John Hand discusses events in the artist's career, the increasing obscurity of his works in the centuries after his death, and their rediscovery in the nineteenth century. Hand then examines specific paintings in Joos's oeuvre, addressing a broad spectrum of topics concerning the artist's style, chronology, iconography, influences, and the wide range of his commission."--Jacket.
This brief overview is intended to give the sense of the historic comprehensiveness of the Italian collection, not to give a complete review of the Collection's strengths. It runs the gamut from famous masterpieces to little known figures; from metropolitan to provincial schools. Throughout this variety runs the continuity of religious themes, the highest ambition of Italian art for five centuries. The Italian collection is very likely to be the most representative in the country. - Introduction.
The Paintings of Hendrick ter Brugghen (1588-1629), is the first major study of this important early seventeenth-century master since Benedict Nicolson's classic monograph of 1958. It comprises two chapters that explore ter Brugghen's development as an artist and the reception of his work among contemporaries, followed by a truly monumental catalogue raisonné of ter Brugghen's 89 authentic paintings, 54 pictures associated with the artist and/or his workshop, 141 rejected works, 42 lost works, and lastly, 10 drawings that have been linked to ter Brugghen directly or related to his paintings. Already celebrated during his lifetime, and avidly collected by elite cognescenti in the Dutch Republic and abroad, ter Brugghen executed a dazzling variety of paintings, ranging from Bible subjects and saints, to fascinating mythological images, as well as scenes of daily life, including musicians. Although his knowledge of paintings by Caravaggio that he had seen during his early sojourn in Rome always remained acute, these experiences were continually tempered by his awareness of older Northern European artistic traditions and conventions, with the result that ter Brugghen created pictures whose subject matter and style are fascinating, and at times, unique. Until his untimely death in August of 2003, Leonard J. Slatkes was Distinguished Professor of Art History at Queens College of the City University of New York, NY. He was an internationally renowned expert on the art of the Dutch Caravaggisti, to whom he had devoted many essays, books, and exhibition catalogues. Slatkes had begun conducting research on ter Brugghen's paintings in the 1960's, with the expectation of eventually publishing a new monograph on the artist. Wayne Franits, a former student of Slatkes's, is currently Professor of Fine Arts at Syracuse University, Syracuse, NY. He has authored numerous publications on seventeenth-century Dutch and Flemish art.
It is with great pride that the Philbrook Museum of Art opens this tour of Italian paintings. The Bob Jones University Collection of Religious Art is one of the finest and most comprehensive collections of old master pictures in the country. Philbrook has been given a rare opportunity to organize a national exhibition tour and to publish a new catalogue. Both will bring attention to this extraordinary but little-known collection to the public at large. - Preface.