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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.
This stunning book presents the very best still lifes produced in the Netherlands at the height of the genre, from the early beginnings in the 16th century, with Pieter Aertsen and Joachim Beuckelaer, to the late highlights in the 18th century, with Rachel Ruysch and Jan van Huysum. Despite the popularity and abundance of flower paintings in modern collections, the book includes a wide range of subjects and styles, from the simple to the complex, the charmingly small to the opulent and extravagant, and from flowers to hunting still lifes or objects in the corner of a painter's studio, along with an occasional trompe l'oeil. The visual delights of still-life painting have a strong historical context. Collectors and connoisseurs purchased them because of their realism, visual appeal, and relevance to their own lives. Poets praised the wonders of still-life paintings and evoked the power of painting to transcend the seasons and the passing of time. Contemporary observers lauded the expensive and elaborate objects often on display. The book therefore considers the visual achievement of the Netherlandish still life painters in the context of contemporary reactions to pictures, art theory, and issues of patronage. Numerous artists were tempted to try their hand at still life, drawn by a new and enchanting genre that allowed an artist to create independent worlds of inanimate objects on the flat surface of a picture -- imaginary realms that had an exceptional following among connoisseurs of the time. These images continue to work their magic on present-day art lovers.
This essay collection features innovative scholarship on women artists and patrons in the Netherlands 1500-1700. Covering painting, printmaking, and patronage, authors highlight the contributions of women art makers in the Netherlands, showing that women were prominent as creators in their own time and deserve to be recognized as such today.
Historians and art historians provide a critique of existing methodologies and an interdisciplinary inquiry into seventeenth-century Dutch art and culture.
At the end of 1941, Imperial Japan targeted The East Indies in an attempt to secure access to precious oil resources. The Netherlands East Indies Campaign featured complex Japanese and Allied operations, and included the first use of airborne troops in the war. This highly illustrated study is one of the less well-known campaigns of the Pacific War. Imperial Japan's campaigns of conquest in late 1941/early 1942 were launched in order to achieve self-sufficiency for the Japanese people, chiefly in the precious commodity of oil. The Netherlands (or Dutch) East Indies formed one of Japan's primary targets, on account of its abundant rubber plantations and oilfields. The Japanese despatched an enormous naval task force to support the amphibious landings over the vast terrain of the Netherlands East Indies. The combined-arms offensive was divided into three groups: western, centre and eastern. The isolated airfields and oilfields were, however, picked off one by one by the Japanese, in the rush to secure the major islands before major Allied reinforcements arrived. This superbly illustrated title describes the operational plans and conduct of the fighting by the major parties involved, and assesses the performance of the opposing forces on the battlefield, bringing to life an often-overlooked campaign of the Pacific War.
Video has commanded a place within the domain of the visual arts since 1965 and has now grown into one of the most widely used forms of art. After the successful introduction of the medium in the United States, Europe followed suit with the Netherlands playing a pioneering role. The video-art circuit in the Netherlands evolved thanks to a unique cross-fertilization of local and international tendencies, and to the provision of workshop facilities by institutions like Het Lijnbaanscentrum, Jan van Eijck Akademie, Monte Video and De Appel. From the early 1970s to the mid-80s, the new medium rapidly achieved maturity, with artists discovering its creative possibilities and documentary expressiveness--but continuously needing to defend its validity. The gradual integration of simpler and cheaper montage techniques in the production process marked a turning point for video art, clearing the way for its assimilation into the art world in the 90s. Recognizing that there are multiple ways to explain and record the development of video art, The Magnetic Era offers a variety of perspectives and themes, as communicated via a range of writers, rather than a strict chronology.
How did painters and their public speak about art in Rembrandt's age? This book about the writings of the painter-poet Samuel van Hoogstraten, one of Rembrandt's pupils, examines a wide variety of themes from painting practice and theory from the Dutch Golden Age. It addresses the contested issue of 'Dutch realism' and its hidden symbolism, as well as Rembrandt's concern with representing emotions in order to involve the spectator. Diverse aspects of imitation and illusion come to the fore, such as the theory behind sketchy or 'rough' brushwork and the active role played by the viewer's imagination. Taking as its starting point discussions in Rembrandt's studio, this unique study provides an ambitious overview of Dutch artists' ideas on painting.
A unique seventeenth-century account of painting as it was practiced, taught, and discussed during a period of extraordinary artistic and intellectual ferment in the Netherlands. The only comprehensive work on painting written by a Dutch artist in the later seventeenth century, Samuel van Hoogstraten’s Inleyding tot de hooge schoole der schilderkonst, anders de zichtbaere werelt (Introduction to the Academy of Painting; or, The Visible World, 1678) has long served as a source of valuable insights on a range of topics, from firsthand reports of training in Rembrandt’s studio to contemporary engagements with perspective, optics, experimental philosophy, the economics of art, and more. Van Hoogstraten’s magnum opus—here available in an English print edition for the first time—brings textual sources into dialogue with the author’s own experience garnered during a multifaceted career. Presenting novel twists on traditional topics, he makes a distinctive case for the status of painting as a universal discipline basic to all the liberal arts. Van Hoogstraten’s arguments for the authority of what painters know about nature and art speak to contemporary notions of expertise and to the unsettled relations between theory and practice, making this book a valuable document of the intertwined histories of art and knowledge in the seventeenth century.
This book presents the first systematic analysis of artistic techniques and terminology related to the rendering of light and shade in Dutch and Flemish art from the early-seventeenth to the mid-eighteenth century. It traces a shift in aesthetic perception, which is visible in the handling of chiaroscuro in Dutch and Flemish art in the course of 150 years, and challenges the view, widespread since Julius von Schlosser's influential survey of European art and literarure, that Netherlandish art was mainly uninventive. In their discussions Netherlandish writers of art theory drew on a) earlier and foreign art literature, b) their insights, mainly as painters, into workshop practice, c) observation of nature (including natural sciences) and d) aesthetic judgement. This volume investigates the different extents to which Netherlandisch writers on art depended on these four aspects as they devised their concepts of chiaroscuro and how this relates to contemporary pictorial practice. Statements on chiaroscuro in the writings of Karel van Mander, Philips Angel, Willem Goeree, Samuel van Hoogstraten, Gerard de Lairesse, Arnold Houbraken and Jacob Campo Weyerman have been compared with paintings of the period to test the writers' statements against the artists'methods. The comparison shows that writers of art theory described partly the same or similar methods to achieve effects of chiaroscuro that artists used in their works, which is understandable, given that most of them were active as artists themselves. Yet there are also divergences, especially when it comes to the question whether artists should value rendering natural effects over pictorial coherence. Dutch writers of art regarded natural impression as a crucial aim of art, but they often struggled with reconciling nature and aesthetic requirements in their arguments. In the art of the Netherlands, however, we can observe frequently that aesthetic and pictorial composition came before nature.