Dutch painting 1600-1800
著者
書誌事項
Dutch painting 1600-1800
(Yale University Press Pelican history of art)
Yale University Press, c1995
- : pbk
- タイトル別名
-
Dutch art and architecture : 1600-1800
大学図書館所蔵 全25件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
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  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
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  フランス
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注記
"Some sections of this book were previously published as parts one and two of Dutch art and architecture: 1600-1800 by Penguin Books Ltd., 1966"--T.p. verso
Includes bibliographical references (p. [339]-364) and index
内容説明・目次
- 巻冊次
-
ISBN 9780300064186
内容説明
This study explores aspects of a creative period in Holland, when sureness of instinct and quality of performance held a safe balance. It analyzes work of the great masters such as Rembrandt and Hals, set in the context of a period of re-establishment in political, religious and social structures.
- 巻冊次
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: pbk ISBN 9780300074512
内容説明
This lavishly illustrated book is an authoritative and perceptive study of Dutch painting from the seventeenth to nineteenth centuries. Seymour Slive focuses on the major artists of the period, analyzing works by Hals, Rembrandt, Vermeer, Jacob van Ruisdael, and others. He discusses the kinds of painting that became Dutch specialties-portraits, genre scenes, landscapes, seascapes, Italianate pictures, architectural painting, and still lifes-as well as traditional biblical and historical subjects painted by artists of the period. He also examines patronage and trends of art theory, criticism, and collecting. This book replaces the classic section on painting in Dutch Art and Architecture: 1600-1800, jointly written by Slive and Jakob Rosenberg in the 1960s. Slive has completely rewritten and expanded the original text, taking into account his own and other recent scholarship on Dutch painting as well as new archival finds, technical analyses of paintings made by conservators and scientists, and significant pictures that have been discovered. The number of illustrations has doubled, and the result is a book that will immediately establish itself as the new standard work on this great period of painting.
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