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Saunder's explores Smibert's early Scottish and London training as well as his travels in Italy; his portrait practice in London; his arrival in America and his stylistic development; the creation of "The Bermuda Group"; and the business of portrait painting in Boston.
This is the first complete edition of the works of William Congreve (1670-1729), one of Britain's most important literary figures. The texts of the plays, novel, poetry, opera, and letters are presented in original spelling. The editor, D.F. McKenzie, has added his own thorough notes at the end of each volume.
Volume Five: This catalogue of a private collection includes works by such artists as Vermeer, Rubens, Renoir, La Tour, the Tiepolos, El Greco, Canaletto, and Van Dyck. -- Metropolitan Museum of Art website.
In this book leading literary scholars, cultural critics, and historians of ideas and visual media, currently engaged both with early modern and contemporary conceptions of biography, reflect on the problems of writing lives from the various perspectives of their own research and in the form of case studies informed by new questions.
Milton's Paradise Lost is one of the great works of literature, of any time and in any language. Marked by Milton's characteristic erudition it is a work epic both in scale and, notoriously, in ambition. For nearly 350 years it has held generation upon generation of scholars, students and readers in rapt attention and its profound influence can be seen in almost every corner of Western culture. First published in 1968, with John Carey's Complete Shorter Poems, Alastair Fowler's Paradise Lost is widely acknowledged to be the most authoritative edition of this compelling work. An unprecedented amount of detailed annotation accompanies the full text of the first (1667) edition, providing a wealth of contextual information to enrich and enhance the reader's experience. Notes on composition and context are combined with a clear explication of the multitude allusions Milton called to the poem's aid. The notes also summarise and illuminate the vast body of critical attention the poem has attracted, synthesizing the ancient and the modern to provide a comprehensive account both of the poem's development and its reception. Meanwhile, Alastair Fowler's invigorating introduction surveys the whole poem and looks in detail at such matters as Milton's theology, metrical structure and, most valuably, his complex and imaginary astronomy. The result is an enduring landmark in the field of Milton scholarship and an invaluable guide for readers of all levels.
In recent years new schools of historiography and criticism have recast the political and cultural histories of Elizabethan and early Stuart England. However, for all the benefits of their insights, most revisionist historians have too narrowly focussed on high politics to the neglect of values and ideology, and New Historicist literary scholars have displayed an insufficient grasp of chronology and historical context. The contributors to this pioneering volume, richly fusing these approaches, apply a revisionist close attention to moments to the wide range of texts - verbal and visual - that critics have begun to read as representations of power and politics. Excitingly broadening the range of areas and evidence for the study of politics, these outstanding essays demonstrate how the study of high culture - classical translations, court portraits royal palaces, the conduct of chivalric ceremony - and low culture - cheap pamphlets and scurrilous verses - enable us to reconstruct the languages through which contemporaries interpreted their political environment. The volume posits a reconsideration of the traditional antithetical concepts - court and country, verbal and visual, critical and complimentary, elite and popular; examines the constructions of a moral and social order enacted in a wide variety of cultural practices; and demonstrates how common vocabularies could in changed circumstances be combined and deployed to sustain quite different ideological positions. This book opens a new agenda for the study of the politics of culture and the culture of politics in early modern England. -- Publisher's website.
Focusing on the directions taken by tragicomedy and the court masque, this book accounts for the shift in genre during the decade following the return of Charles II.
Though known today largely for dating the creation of the world to 4004BC, James Ussher (1581-1656) was an important scholar and ecclesiastical leader in the seventeenth century. As Professor of Theology at Trinity College Dublin, and Archbishop of Armagh from 1625, he shaped the newly protestant Church of Ireland. Tracing its roots back to St Patrick, he gave it a sense of Irish identity and provided a theology which was strongly Calvinist and fiercely anti-Catholic. In exile in England in the 1640s he advised both king and parliament, trying to heal the ever-widening rift by devising a compromise over church government. Forced finally to choose sides by the outbreak of civil war in 1642, Ussher opted for the royalists, but found it difficult to combine his loyalty to Charles with his detestation of Catholicism. A meticulous scholar and an extensive researcher, Ussher had a breathtaking command of languages and disciplines - 'learned to a miracle' according to one of his friends. He worked on a series of problems: the early history of bishops, the origins of Christianity in Ireland and Britain, and the implications of double predestination, making advances which were to prove of lasting significance. Tracing the interconnections between this scholarship and his wider ecclesiastical and political interests, Alan Ford throws new light on the character and attitudes of a seminal figure in the history of Irish Protestantism.
Presents a catalog that surveys the Dutch paintings found in the Metropolitan Museum of Art.