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The author was a respected art critic in Holland and was also a painter herself. In this book, she traces the origins and development of nineteenth-century painters back to the late eighteenth-century painters. She argues that their painting skills had been adapted to suit the needs of their time but not altogether lost and that from them new styles and talents were born.
Historians and art historians provide a critique of existing methodologies and an interdisciplinary inquiry into seventeenth-century Dutch art and culture.
Between 1790 and 1910, Danish painters developed a national school of art that matched the artistic centres of France, Germany and Britain. The range of outstanding works created by Nicolai Abildgaard, Jens Juel, Christoffer Wilhelm Eckersberg, Christen Købke, P. S. Krøyer and Vilhelm Hammershøi reflect and refract the great stylistic tendencies of European art of the 19th century, including Classicism, Romanticism, Impressionism and Symbolism. Illustrated with over two hundred key works of art drawn from the leading Danish collections, this is the only book available in English that surveys Danish painting across the 19th century. Written by a major scholar in the field, and featuring all the icons of the Danish Golden Age, this is an essential addition to all art libraries.
This is the first survey of the diverse critical understandings of seventeenth-century Dutch art from its origins to the present. Appreciated in the eighteenth century by amateurs and collectors, Dutch art during the Romantic age became a focus of ideological interest. From the late nineteenth century onward, it developed into a subject of scholarly research, indeed one of the foundational fields of art history in the modern era. This study provides insight into the various artistic, literary, political, and philosophical approaches that Dutch painting has inspired over the ages.
This richly illustrated book provides an overview of all known Dutch and Flemish artists up to the nineteenth century who painted or drew flower pieces, or else made prints of them. Unlike many mainstream art historical studies, the book takes a truly comprehensive approach, including cases where only a single example is known or even if nothing of the artist’s other work appears to have survived. Containing highly instructive lists identifying the names of flowers, as well as insects and other animals, the book also discusses the earliest depictions of flower still life and the distinctive characteristics behind the development of floral arrangements in different periods, including the variation of the flowers, the variety of techniques used by artists, as well as an exploration of the symbolism behind the numerous plant and animal species this form of art portrays. Composed in Dutch, the text was translated into English by Judith Deitch and edited by Philip Kelleway. Publication of this book was made possible thanks to generous support of: • Dr. med. Bettina Leysen • Rose-Marie and Eijk van Otterloo and the Center for Netherlandish Art at the Museum of Fine Arts, Boston With additional support of the M.A.O.C. Gravin van Bylandt Stichting. See inside the book.
Dutch art spans the history of Western easel painting from the Middle Ages to the present, and has a psychological development of its own which makes it a fascinating field of study.
The Paris Salons of the mid-nineteenth century are famous today above all for the paintings that were rejected more than for those that were actually shown. The rejected works form today's canon of art history and are regarded as heralds of a modern age. This book looks to reassess the other side of the art history of the nineteenth century. Salon Painting has often been dismissed as overly academic or staid. Now art historian Norbert Wolf turns back the pages of history as he reintroduces readers to the artistry and excellence of the Salon Painting in Europe, Britain, Russia and the US. In an opulent new book, illustrated throughout with gorgeous reproductions, Wolf looks at Salon painting from a variety of perspectives, such as the rise of the bourgeoisie and Paris's position as Europe's cultural capitol. Wolf examines masterpieces by Cabanel, Manet, Bierstadt, The Pre-Raphaelites, and Sargent, demonstrating how classical subjects gave way to modern concerns.
Showcasing more than seventy paintings from public and private collections throughout the United States and Europe, Dutch Utopia: American Artists in Holland, 1880-1914 explores the work of forty-three American artists drawn to Holland during the late nineteenth and early twentieth centuries. Escaping from the rapid urbanization of their time, these artists established colonies in six communities in the Netherlands—Dordrecht, Egmond, Katwijk, Laren, Rijsoord, and Volendam—with all but Dordrecht being small, preindustrial villages. Inspired by their pastoral surroundings as well as the great traditions of seventeenth-century Dutch art and the contemporary Hague school, these American artists created visions of Dutch society underpinned by a nostalgic yearning for a premodern way of life. Some even alluded to America’s own colonial Dutch heritage, exploring shared histories and cultural connections between the two countries. Organized by the Telfair Museum of Art in Savannah, Georgia, Dutch Utopia examines the appeal of Holland for American artists during this period, through six pivotal themes: the influence of seventeenth-century Dutch painting; the impact of the contemporary Hague School; antimodernism and the American Progressive Movement; points of convergence in national identities; the proliferation of artist colonies in Holland; and the popular construction of “Dutchness” beyond the stereotypes of wooden shoes and windmills. Dutch Utopia includes works by artists who remain celebrated today, such as Robert Henri, William Merritt Chase, and John Singer Sargent, and by painters admired in their own time but less well-known now. These include accomplished women such as Elizabeth Nourse and Anna Stanley, as well as George Hitchcock, Gari Melchers, and Walter MacEwen, who built international reputations with Salon pictures of Dutch landscapes and costumed figures. These artists were among hundreds of Americans who traveled to the Netherlands between 1880 and 1914 to paint and to study. Some lived in Holland for decades, while others stayed only a week or two, but most passed quickly through the major cities to small rural communities, where they created picturesque idylls on canvas.