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"The Albertina owns one of the world's most important collections of Netherlandish drawings dating from the period 1430 to 1650, including outstanding individual specimens from the circles around Jan van Eyck, Petrus Christus, or Dirk Bouts. Works by Hieronymus Bosch and Pieter Brueghel the Elder form one of the first highlights of this select collection. The rest of the sixteenth century is exemplified by masterful drawings by artists such as Jan Gossaert, Maarten van Heemskerck, and Hendrick Goltzius. The focus of the collection, however, is Holland's "Golden Age," the seventeenth century, with important works by Rembrandt van Rijn and his school. The southern Netherlands, once dominated by the House of Hapsburg, is represented by the most famous Flemish masters of the age: Peter Paul Rubens, Anton van Dyck, and Jacob Jordaens."--Publisher's website.
A bold new interpretation of two northern Renaissance masters In this visually stunning and much anticipated book, acclaimed art historian Joseph Koerner casts the paintings of Hieronymus Bosch and Pieter Bruegel in a completely new light, revealing how the painting of everyday life was born from what seems its polar opposite: the depiction of an enemy hell-bent on destroying us. Supreme virtuoso of the bizarre, diabolic, and outlandish, Bosch embodies the phantasmagorical force of painting, while Bruegel, through his true-to-life landscapes and frank depictions of peasants, is the artistic avatar of the familiar and ordinary. But despite their differences, the works of these two artists are closely intertwined. Bruegel began his career imitating Bosch's fantasies, and it was Bosch who launched almost the whole repertoire of later genre painting. But Bosch depicts everyday life in order to reveal it as an alluring trap set by a metaphysical enemy at war with God, whereas Bruegel shows this enemy to be nothing but a humanly fabricated mask. Attending closely to the visual cunning of these two towering masters, Koerner uncovers art history’s unexplored underside: the image itself as an enemy. An absorbing study of the dark paradoxes of human creativity, Bosch and Bruegel is also a timely account of how hatred can be converted into tolerance through the agency of art. It takes readers through all the major paintings, drawings, and prints of these two unforgettable artists—including Bosch’s notoriously elusive Garden of Earthly Delights, which forms the core of this historical tour de force. Elegantly written and abundantly illustrated, the book is based on Koerner’s A. W. Mellon Lectures in the Fine Arts, a series given annually at the National Gallery of Art, Washington. Published in association with the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC Please note: All images in this ebook are presented in black and white and have been reduced in size.
Bizarre, perplexing, and moving cases of brain disorder, told by a neurologist with an extraordinary gift for storytelling
Truly collaborative paintings, that is, not simply mechanical but also conceptual co-productions, are rare in the history of art. This gorgeously illustrated catalogue explores just such an extraordinary partnership between Antwerp's most eminent painters of the early seventeenth century, Peter Paul Rubens (1577-1640) and Jan Brueghel the Elder (1568-1625). Rubens and Brueghel executed approximately twenty-five works together between around 1597 and Brueghel's death in 1625. Highly prized and sought after by collectors throughout Europe, the collaborative works of Rubens and Brueghel were distinguished by an extremely high level of quality, further enhanced by the status of the artists themselves. Published to coincide with an exhibition at the Getty Museum to be held July 5 to September 24, 2006, the catalogue features twenty-six color plates of such Rubens/Brueghel paintings as The Return from War, The Feast of Achelo�s, and Madonna and Child in a Garland of Flowers, along with Rubens and Brueghel's collaborations with important contemporaries such as Frans Snyders and Hendrick van Balen. This is the first such publication to fully address and reproduce these works in depth.
In 1969, the BBC aired the first episode of a new comedy series titled Monty Python's Flying Circus, and the rest, as they say, is history. An instant success, the show ran until 1974, producing a total of 45 episodes. Despite the show's very English humor and allusions to many things British, the series developed a cult following outside the U.K., particularly in the United States. Known for its outrageous humor, occasionally controversial content, and often silly spirit, Monty Python's Flying Circus poked fun at nearly all institutions--domestic or foreign, grand or intimate, sacred or not. Indeed, many of the allusions and references in the program were uniquely British and routinely obscure, and therefore, not always understood or even noticed outside the British Isles. This exhaustive reference identifies and explains the plethora of cultural, historical, and topical allusions of this landmark series. In this resource, virtually every allusion and reference that appeared in an episode--whether stated by a character, depicted in the mise-en-scene, or mentioned in the printed scripts--is identified and explained. Organized chronologically by episode, each entry is listed alphabetically, indicates what sketch it appeared in, and is cross-referenced between episodes. Entries cover literary and metaphoric allusions, symbolisms, names, peoples, and places; as well as the myriad social, cultural, and historical elements (photos, songs, slogans, caricatures) that populate and inform these episodes. Entries Include: -"Arabella Plunkett" -Group of famous characters from famous paintings -Hell's Grannies -HRH The Dummy Princess Margaret -"Kandinsky" -"On the Dad's Liver Bachelors at Large" -Raymond Baxter type -Scun -"Spanish Inquisition" -"Third Parachute Brigade Amateur Dramatic Society" -"total cashectomy" -"Two-Sheds" -"Umbonga's hostile opening" -Vicar sitting thin and unhappy in a pot -"What's all this then?"
Films from the Netherlands, Belgium and Luxembourg have long been regarded as isolated texts. The Cinema of the Low Countries points to the interconnectedness between these national cinemas from the point of view of genre, language and format, and their local and international importance by explicitly focusing on 24 key feature films and documentaries from the region. Building on each film's relationship with its particular cultural context, this volume presents twenty-four specially commissioned essays that explore the particular significance and influence of a wide range of exemplary films. Covering the work of internationally acclaimed directors such as Joris Ivens, Henri Stock, Paul Verhoeven and the Dardenne Brothers and featuring the films Turkish Delight, The Vanishing, Daughters of Darkness, Rosetta, Soldiers of Orange and Man Bites Dog, this collection offers an original approach to the appreciation of a diverse and increasingly important regional cinema.
The Routledge History of Poverty, c.1450–1800 is a pioneering exploration of both the lives of the very poorest during the early modern period, and of the vast edifices of compassion and coercion erected around them by individuals, institutions, and states. The essays chart critical new directions in poverty scholarship and connect poverty to the environment, debt and downward social mobility, material culture, empires, informal economies, disability, veterancy, and more. The volume contributes to the understanding of societal transformations across the early modern period, and places poverty and the poor at the centre of these transformations. It also argues for a wider definition of poverty in history which accounts for much more than economic and social circumstance and provides both analytically critical overviews and detailed case studies. By exploring poverty and the poor across early modern Europe, this study is essential reading for students and researchers of early modern society, economic history, state formation and empire, cultural representation, and mobility.