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The third volume includes a final group of preeminent, identified artists from the period of transition at the end of the 15th and the beginning of the 16th century. Artistic production at this time was still rooted in late medieval thought, yet more and more seized with new renaissance developments, and at a permanent state of ferment with constantly changing needs of society. The catalogue deals with correspondingly complex issues of interpretation through the works of Hieronymus Bosch, Albrecht Bouts, Gerard David, Colijn de Coter and Goossen van der Weyden. It comprises a technical, stylistic and iconographical investigation of seventeen paintings on the basis of a scientific research method, which has been fully established over the years. The authors have been able to adjust various attributions and interpretations. At the same time most valuable discoveries have been made with regard to the provenance of some work belonging to the Albrecht Bouts and Colijn de Coter Groups.
Life, Work and Artistic RelationsIconographical aspectsInfluencesTechnologiacal AspectsReception.
This newest volume in Hudson Hills Press's acclaimed series about leading collections of master drawings presents sixty-eight great sheets, all reproduced in full-color, including many versos, from one of the finest college museums in America.
Covering the rich film production of Belgium, Switzerland, Quebec, the Caribbean, North Africa, and Sub-Saharan Africa, this book brings together films that might otherwise be divided by questions of race, gender, genre, period, or nation, in a valuable comparative study of a diverse corpus. Individual countries, film-makers, and films are treated separately in order to emphasize their specific identities or those which are represented in their films, and key films are examined within a well-developed historical context. Clearly written and accessible to the specialist and general reader alike, this informative book is a valuable reference source.
This cultural analysis of the divine indwelling from the fourth through sixteenth centuries reverses the history of doctrine to venture doctrine as history. It discovers a fundamental disparity between domestic values and the exilic asceticism that once dominated western civilization.
Ainsworth (Senior Conservation Research Fellow at the Metropolitan Museum of Art) examines the work of the great Bruges painter Gerard David (ca. 1455-1523), focusing on the motivating forces behind the startling changes in his work caused by shifting devotional practices, changing art markets, the accommodation of foreign art clients, and the evolving secular nature of painting demanded by the newly wealthy middle class in the early years of the 16th century. Illustrations, some 343 in all, include abundant comparative material, such as drawings and workshop copies, as well as 69 superb color reproductions. Annotation copyrighted by Book News, Inc., Portland, OR