Hans Von Aachen 1552 1615
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Author | : Hans von Aachen |
Publisher | : Deutscher Kunstverlag |
Total Pages | : 0 |
Release | : 2010 |
Genre | : Artists |
ISBN | : 9783422069725 |
After first studying in Cologne, Hans von Aachen moved to Italy in 1574 to further his studies. He toured Rome and Florence, eventually settling in Venice. Combining Flemish traditions and Italian innovation he developed a style of his own. Returning to Germany, he lived in Cologne and Munich as a painter of the nobility. In 1592 he was appointed official painter of Rudolph II, Holy Roman Emperor in Prague, finally moving to Prague in 1601, where he painted commissions from Emperor Rudolph II and his successor, Matthias I. The elegance, humour, and sensuality of his mythological and allegoric paintings continue to be a fascination. His religious presentations are symbolic of the constant change in a turbulent world. The Los Angeles Museum of Art (LACMA) numbers paintings from Hans von Aachen among its collection.
Author | : Alice Taatgen |
Publisher | : |
Total Pages | : 0 |
Release | : 2010 |
Genre | : |
ISBN | : |
Author | : Alice Taatgen |
Publisher | : |
Total Pages | : 278 |
Release | : 2010 |
Genre | : |
ISBN | : |
Author | : Arianne Faber Kolb |
Publisher | : Getty Publications |
Total Pages | : 106 |
Release | : 2005 |
Genre | : Art |
ISBN | : 0892367709 |
Kolb has produced a thoroughly researched essay on this painting, which is in the Getty Museum. The study focuses on Brueghel's depiction of nature, especially his exacting representation of identifiable species of animals and birds, the names of which are listed. Brueghel's collaboration with other painters, his and other painters' re-use of the same theme and composition, and the history and practice of natural history collection and representation are central themes. The volume, which is printed in a horizontal format (it's 11x8") and heavily illustrated, is written for a general audience, though art historians will also find much of interest.
Author | : |
Publisher | : BRILL |
Total Pages | : 613 |
Release | : 2020-02-25 |
Genre | : History |
ISBN | : 9004416056 |
A Companion to Late Medieval and Early Modern Augsburg distills the extraordinary range and creativity of recent scholarship on one of the most significant cities of the Holy Roman Empire into a handbook format.
Author | : J. Paul Getty Museum |
Publisher | : |
Total Pages | : 380 |
Release | : 1988 |
Genre | : Drawing |
ISBN | : |
Author | : Hugh Redwald Trevor-Roper |
Publisher | : HarperCollins Publishers |
Total Pages | : 184 |
Release | : 1976 |
Genre | : Art |
ISBN | : |
"The relationship between artists and their patrons has always been a complex and fascinating one. In the case of the Habsburg rules of the sixteenth and seventh centuries, this is especially true, not only because those rulers are themselves of intrinsic interest, but because the artists whom they encouraged or employed - Durer, Titian, El Grego, Rubens - were among the greatest of all times. In Princes and Artists Professor Trevor-Roper explores the relationship between art and patronage through the careers of the Emperor Charles V (1500-58), his son Philip II of Spain (1527-98), the Emperor Rudolf II (1552-1612) and 'the arch-dukes" - Albert and Isabella - who ruled the southern Netherlands from 1598 to 1633. In the context of their personal lives, their several courts, their political activities, and the ideological conflicts of the era, art played an immensely important role - partly as propaganda, partly for the sheer aesthetic pleasure it gave. The author argues that the distinctive characteristics of patronage in this period, which spanned the transition from the High Renaissance to the Baroque in art, from the Reformation to the Counter-Reformation in ideology, are to be explained by the 'world picture' of the age: "Art symbolised a whole view of life, of which politics were a part, and which the court had a duty to advertise and sustain." -- Book jacket.
Author | : Larry Silver |
Publisher | : BRILL |
Total Pages | : 417 |
Release | : 2023 |
Genre | : Art |
ISBN | : 9004504419 |
Dramatic changes during the Reformation era in Northern Europe, such as witchcraft and new global discoveries, are examined through visual culture, both prints and paintings.
Author | : |
Publisher | : BRILL |
Total Pages | : 387 |
Release | : 2018-03-12 |
Genre | : History |
ISBN | : 9004361499 |
Almost Eternal: Painting on Stone and Material Innovation in Early Modern Europe gathers together an international group of ten scholars, who offer a novel account of the phenomenon of oil painting on stone surfaces in Northern and Southern Europe. This technique was devised in Rome by Sebastiano del Piombo in the early sixteenth century and was practiced until the late seventeenth century. This phenomenon has attracted little attention previously: the volume therefore makes a significant and timely contribution to the field in the light of recent studies of materiality and the rise of technical Art History. Contributors: Nadia Baadj, Piers Baker-Bates, Elena Calvillo, Ana Gonsalez Mozo, Anna Kim, Helen Langdon, Johanna Beate Lohff, Judith Mann, Christopher Nygren, Suzanne Wegmann, and Giulia Martina Weston.
Author | : Eric Jan Sluijter |
Publisher | : Amsterdam University Press |
Total Pages | : 452 |
Release | : 2006 |
Genre | : Art |
ISBN | : 9053568379 |
Rembrandt’s extraordinary paintings of female nudes—Andromeda, Susanna, Diana and her Nymphs, Danaë, Bathsheba—as well as his etchings of nude women, have fascinated many generations of art lovers and art historians. But they also elicited vehement criticism when first shown, described as against-the-grain, anticlassical—even ugly and unpleasant. However, Rembrandt chose conventional subjects, kept close to time-honored pictorial schemes, and was well aware of the high prestige accorded to the depiction of the naked female body. Why, then, do these works deviate so radically from the depictions of nude women by other artists? To answer this question Eric Jan Sluijter, in Rembrandt and the Female Nude, examines Rembrandt’s paintings and etchings against the background of established pictorial traditions in the Netherlands and Italy. Exploring Rembrandt’s intense dialogue with the works of predecessors and peers, Sluijter demonstrates that, more than any other artist, Rembrandt set out to incite the greatest possible empathy in the viewer, an approach that had far-reaching consequences for the moral and erotic implications of the subjects Rembrandt chose to depict. In this richly illustrated study, Sluijter presents an innovative approach to Rembrandt’s views on the art of painting, his attitude towards antiquity and Italian art of the Renaissance, his sustained rivalry with the works of other artists, his handling of the moral and erotic issues inherent in subjects with female nudes, and the nature of his artistic choices.