Area di ricerca: AUTORE
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| 1. |  € 150,00 | EAN-13: 9781909400580 K. Jonckheere
Portraits After Existing Prototypes
| Edizione: | Brepols Publishers, 2016 | | Collana: | Corpus Rubenianum Ludwig Burchard |
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Indicativamente procurabile in 15-20 giorni lavorativi | | Info disponibilità | Rifornimento in corso | | Prezzo di acquisto | € 150,00 | | Descrizione | Rubens was mesmerised by faces. He studied physiognomy, the pseudo-science that began making headway in the sixteenth century, which postulated that a person?s character could be read from their facial features. He made geometrical analyses of the faces of ancient emperors and heroes. He invested a great deal of time in detailed anatomical studies, sometimes based on nature, and equally often on antique busts and coins. At times it seems as though the master wanted to know and understand every nook and cranny of the human face. To this end he studied man himself and the way in which the ancients dealt with nature. His best portrait copies, thus, are not strictly copies but rather studies in which art history, craftsmanship, literature and theory merge into an emulation of art and nature. They are works in which the artist was looking for what ultimately captivated him the most: man in all of his myriad facets, and the perspectives art afforded to better understand man. |  Aggiungi al Carrello |
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| 2. | € 75,00 | EAN-13: 9781909400146 K. Jonckheere
Michiel Coxcie (1499-1592) and the Giants of His Age
| Edizione: | Brepols Publishers, 2013 | | Collana: | Studies in Medieval and Early Renaissance Art History |
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Indicativamente procurabile in 15-20 giorni lavorativi | | Info disponibilità | Rifornimento in corso | | Prezzo di acquisto | € 75,00 | | Descrizione | Michiel Coxcie lived to the age of 93 and witnessed all the important political, religious, economic and artistic upheavals of the sixteenth century. He was born just before Gerard David raised the art of the Flemish Primitives to its final pinnacle and did not die until the young Rubens had returned to Antwerp from Cologne. He must have known Quinten Metsijs, Joos van Cleve and Pieter Coecke van Aelst. Willem Key and Frans Floris were younger contemporaries, and Bruegel was of the next generation. He outlived them all. During his time in Italy in the 1530s he knew Michelangelo, and was said to be a friend of Giorgio Vasari. Titian, the Venetian prodigy, sent him pigments to help him finish his copy of Jan van Eyck?s Adoration of the Mystic Lamb, and he even painted frescoes in the old Basilica of St Peter in Rome. Few people have led such a fascinating life as Michiel Coxcie. He was a celebrated painter, inundated with prestigious commissions from important clients. He had spent some ten years in Rome where he studied classical antiquity and the art of Renaissance masters like Raphael, Michelangelo and Da Vinci. Back in his the low Countries, Coxcie designed altarpieces, stained-glass windows and tapestries for clients in Brussels, Antwerp and Mechelen. The pinnacle of his career was his appointment as court painter to Emperor Charles V and Philip I. This book explores the multifaceted oeuvre of this talented master. | Aggiungi al Carrello |
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| 3. | € 55,00 | EAN-13: 9782503545967 K. Jonckheere
Art after Iconoclasm. Painting in the Netherlands between 1566 and 1585
| Edizione: | Brepols Publishers, 2012 | | Collana: | Museums at the Crossroads |
Tempi di rifornimento |
Indicativamente procurabile in 15-20 giorni lavorativi | | Info disponibilità | Rifornimento in corso | | Prezzo di acquisto | € 55,00 | | Descrizione | Rather than as a destructive moment in history, the Iconoclasm of 1566 in the Netherlands was the catalyst for a re-evaluation of (religious) art in the Low Countries. It forced painters to question the very nature of the artistic tradition they grew up in. Is it merely a coincidence that the art markets changed so swiftly after the Fall of Antwerp, that art theory in the Low Countries originated in the wake of Iconoclasm (De Heere, Lampsonius, ...), or that painting in the second half of the sixteenth century saw the impetus of new styles, genres, specialisations (Aertsen, De Beuckelaer, ?)? Iconoclasm forced people to think about art. The generation of painters active in the two decades between the Beeldenstorm and the fall of Antwerp did this by questioning the decorum of the work of their famous predecessors. This volume, with contributions by eminent specialists in the field, addresses some of these questions and by doing so marks the beginning of a re-assessment of one of the most fascinating and complex but also understudied periods in Netherlandish Art History. | Aggiungi al Carrello |
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| 4. |  € 140,00 | EAN-13: 9782503536781 K. Jonckheere
Willem Key (1516-1568). Portrait of a Humanist Painter
| Edizione: | Brepols Publishers, 2011 | | Collana: | Pictura Nova |
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Indicativamente procurabile in 15-20 giorni lavorativi | | Info disponibilità | Rifornimento in corso | | Prezzo di acquisto | € 140,00 | | Descrizione | Willem Key was one of the leading portrait and history painters in sixteenth-century Antwerp. He was born in Breda in 1516. Following in his older brother Wouters footsteps, Willem went to Antwerp to become a painter. He studied under Pieter Coecke (1529) and later, like Frans Floris, apprenticed in the workshop of Lambert Lombard in Liège before becoming a free master in 1542. In 1568, just when he had reached the top of his abilities and enjoyed the patronage of outstanding individuals and institutions, Willem Key died suddenly. The artists biographer and painter Karel van Mander tells us that Key was blessed with Sulcke edele gheesten, such a noble mind. And, he had a Docta manus, a learned hand, as the Bruges humanist and painter Domenicus Lampsonius phrased this topos in 1572.
This is the first monograph to place Willem Key and his oeuvre in a historical framework. It demonstrates why the nobility, including the Duke of Alba and Cardinal Granvelle, considered him the best portrait painter of his day and why leading humanists viewed his many history paintings as eloquent visualizations of contemporary art theory. The reason why Willem Keys peers regarded him as such an exceptional painter lay in his creative ability to do battle on an uneven playing field with the artists who had been to Italy. In his reconciliation of the Netherlandish tradition with the rapidly advancing Italian manner, Key grasped the spirit of the Renaissance as formulated by Alberti. The quintessence of Keys art inspired numerous artists in his own time and later, including the grandmaster of the Baroque, Pieter Paul Rubens.
By shedding light on this amazing confrère of Pieter Bruegel, Pieter Aertsen, Anthonis Mor and Frans Floris and placing him in the highly complex and fascinating time he lived in, this monograph and catalogue raisonné of the art of Willem Key restores the artist to his rightful place in sixteenth-century Antwerp art.
The book also contains an appendix of the many new works by Adriaen Thomasz. Key that have been discovered since the publication of the catalogue of Adriaen's oeuvre in this same series in 2007. | Aggiungi al Carrello |
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| 5. | € 140,00 | EAN-13: 9782503525549 K. Jonckheere
Adriaen Thomasz Key (ca.1545- ca.1589). Portrait of a Calvinist Painter
| Edizione: | Brepols Publishers, 2007 | | Collana: | Pictura Nova |
Tempi di rifornimento |
Indicativamente procurabile in 15-20 giorni lavorativi | | Info disponibilità | Rifornimento in corso | | Prezzo di acquisto | € 140,00 | | Descrizione |
Art history has not given Adriaen Thomasz. Keys legacy
its proper due, to say the least. After a short and successful
artistic career in a turbulent period, Adriaen Thomasz. Key
vanished from the stage for centuries. Barring his art, he left few
other traces behind and over time even this came to be riddled with
the most far-fetched attributions. In the past, connoisseurs were
often at a complete loss. Adriaen Thomasz.s pictures were
ascribed to a host of painters from numerous countries and periods.
The names of Frans Pourbus the Elder and Willem Key, for instance,
were linked to several of Adriaen Thomasz.s panels. Other
works had to endure attributions which had nothing in common with
the quality, let alone the art, of the master. Dozens of inferior
portraits were given to Adriaen Thomasz. and many of his
altarpieces and devotional scenes were not recognised as such
because he was considered solely as a portraitist. Consequently, up
until now the image of Adriaen Thomasz.s art has been
clouded and inconsistent.
Adriaen Thomasz. Key richly deserved his reputation as a
portraitist. Some ninety percent of his preserved oeuvre consists
of likenesses of the Antwerp and the Dutch elite. Adriaen
Thomasz.s skills as a portraitist were and are generally
acknowledged. With a finesse and sobriety recalling that of Flemish
Primitives such as Jan van Eyck and Hans Memling, he recorded his
sitters with ruthless objectivity. The same sobriety and
objectivity are to be found in his altarpieces and devotional
paintings, a less known facet of his art. Often incorrectly
ascribed as a lack of ingenuity or understanding of the Italian
Renaissance and typified as archaising, Keys history and
devotional paintings prove to be of a huge intellectual
resourcefulness and artistic talent. His art was a conscious,
reformatory and humanistic intellectual discourse with his famous
predecessors and contemporaries. The striving for photographic
realism and sobriety in the oeuvre of the painter is tackled
in this monograph, bearing in mind Adriaen Thomasz.s
humanistic concerns with iconography.
This richly illustrated monograph brings to light, for the first
time, the oeuvre of a painter, called the most talented of his
generation by David Freedberg. It consists of portraits and
altarpieces, devotional paintings and chiaroscuro prints. The
rediscovery of Adriaen Thomasz. Keys art will be a eye
opener to all scholars interested in the Netherlandish Renaissance
and will hopefully induce new research into Adriaen Thomasz. Key
and his contemporaries.
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