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Around 1600, trade and shipping flourished in the Northern Netherlands as never before. This activity of ships on the water and in the many ports was a new, inexhaustible source of inspiration for painters who chose the sea as their subject. Among these marine painters were father and son Willem van de Velde. They worked closely together for over fifty years, first from their Amsterdam shop and from 1672 at the court of the English kings Charles II and James II. With their eye for detail and entrepreneurial talent, they became the most prominent marine painters of the seventeenth century.0Their studio has existed for over fifty years. Their productivity in that period was unprecedented, they made an estimated 2500 drawings and 800 paintings. Their works of art can now be found in the collections of all major museums in the world. The work of the Van de Veldes symbolizes the heyday of Dutch marine painting. Their departure to England in the winter of 1672 also marked the end of a period in which Dutch marine painters, like the war fleet they depicted throughout their lives, ruled in an artistic sense.00Exhibition: Het Scheepvaartmuseum, Amsterdam, the Netherlands (1.10.2021-27.3.2022).
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.
Although the work of father and son Van de Velde received considerable attention from historians and art historians, no comprehensive monograph on the Van de Velde studio has so far been written. In this book Remmelt Daalder describes their careers as a case study of a 17th -century family firm specialising in maritime art. Instead of focusing on their artistic development per se, Daalder explores how they developed their products to keep apace with the art market in the 17th century. Exhibition: Scheepvaartmuseum, Amsterdam, The Netherlands (2016).
Historians and art historians provide a critique of existing methodologies and an interdisciplinary inquiry into seventeenth-century Dutch art and culture.
Spreading Canvas takes a close look at the tradition of marine painting that flourished in 18th-century Britain. Drawing primarily on the extensive collections of the Yale Center for British Art and the National Maritime Museum in Greenwich, London, this publication shows how the genre corresponded with Britain's growing imperial power and celebrated its increasing military presence on the seas, representing the subject matter in a way that was both documentary and sublime. Works by leading purveyors of the style, including Peter Monamy, Samuel Scott, Dominic Serres, and Nicholas Pocock, are featured alongside sketches, letters, and other ephemera that help frame the political and geographic significance of these inspiring views, while also establishing the painters' relationships to concurrent metropolitan art cultures. This survey, featuring a wealth of beautifully reproduced images, demonstrates marine painting's overarching relevance to British culture of the era. Published in association with the Yale Center for British Art Exhibition Schedule: Yale Center for British Art, New Haven (09/15/16-12/04/16)
Seventeenth-century Dutch and Flemish paintings were aesthetic, intellectual, and economic touchstones in the Parisian art world of the Revolutionary era, but their importance within this framework, while frequently acknowledged, never attracted much subsequent attention. Darius A. Spieth’s inquiry into Revolutionary Paris and the Market for Netherlandish Art reveals the dominance of “Golden Age” pictures in the artistic discourse and sales transactions before, during, and after the French Revolution. A broadly based statistical investigation, undertaken as part of this study, shows that the upheaval reduced prices for Netherlandish paintings by about 55% compared to the Old Regime, and that it took until after the July Revolution of 1830 for art prices to return where they stood before 1789.
Essays by American and Dutch scholars and museum curators explore the collecting and reception of seventeenth-century Dutch painting in America, from the colonial era through the Gilded Age to today.
Discusses the Asian luxury goods that were imported into the Netherlands during the 17th century and demonstrates the overwhelming impact these works of art had on Dutch life and art during the Golden Age
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.