Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
19
result(s) for
"Painting, Dutch 19th century"
Sort by:
Van Gogh : the birth of an artist
In 1878, at age 25, Vincent van Gogh (1853-1890) arrived in the area of Belgium known as the Borinage to work as a Protestant evangelist in rural coal mining communities. He failed in that vocation, and after months of soul-searching, in August 1880, he decided to become an artist. This fascinating publication is the first to examine Van Gogh's time in the Borinage and his artistic development in the following years, when he created his first original works. Vivid essays tell the story of Van Gogh's life in the mining towns, and the effect this environment had on his way of thinking and seeing the world. Augmenting the text are excerpts from letters Van Gogh wrote to his brother Theo from the Borinage, in which he describes his desire to sketch, and prints that he modeled after masterworks by artists such as Jean-Francois Millet. Other essays trace Van Gogh's development as an artist in subsequent years, including his move to Brussels to fully pursue life as an artist. Thought-provoking examinations of works that Van Gogh completed after leaving the Borinage demonstrate how motifs that he developed there-rustic dwellings, laborers, agriculture, nature-became themes that spanned his entire oeuvre. Exhibition: Fondation Mons, Mons, Belgium (23.01-17.05.2015).
Book
Revolutionary Paris and the Market for Netherlandish Art
Revolutionary Paris and the Market for Netherlandish Art restores attention to the aesthetic, intellectual, and economic link between two key periods in the history of art: the \"Golden Age\" of Dutch and Flemish painting and that of the French Revolution.
eBook
Miniature Painting in Eighteenth-Century England: The Case of William Pether (1739–1821)
William Pether (1739–1821) was a painter and skilled draftsman, whose abilities led to his becoming a master of engraving in the mezzotint technique—his prints reproducing works not only by the Dutch masters, such as Rembrandt van Rijn and his pupils Gerrard Dou and Willem Drost, but also by English artists such as Joseph Wright of Derby, Edward Penny, and Richard Hurlstone. An eminent British mezzotint engraver, he was also an underrated painter of miniatures. His artistic activity in this domain has been overlooked by scholars, who have focused on his print production; this study considers all extant miniatures produced by the artist during the period 1760–1820. The aim of this article is to present as many as possible known miniatures painted by this artist and to determine their proper attribution and dates through the use of stylistic analysis, the graphical-comparative method and handwriting research using available works of art and archival materials in the form of letters written by Pether.
Journal Article
Van Gogh : still lifes
\"From his first paintings to the colorful flower images of his later career, Vincent van Gogh (1853-1890) repeatedly painted still lifes. In this genre, he could try out various media and alternatives--from depicting space using light and shadow to experiments with color. The first exhibition on this theme will present 27 paintings and use them to analyze the key stages in van Gogh's life and work. Van Gogh: Still Lifes is the first systematic exploration of this important theme in the artist's work in an exhibition. Of the roughly 800 paintings that Vincent van Gogh (1853-1890) created during his ten-year career as an artist, some 170--about a fifth--are still lifes. It is therefore all the more remarkable that there has never been a monographic exhibition dedicated to the genre of the still life in Van Gogh's work\"--Publisher's description.
Book
Aloïs Riegl and the riddle of Rembrandt's Staalmeesters: Vienna schooling Dutch art scholarship
'Art history's culminating moment, the years when the project of art history most perfectly realized its possibilities' almost arrived in 1893 with Alois Riegl's first book Questions of Style, according to an appetizing formulation in Christopher Wood's critically-acclaimed recent study, The History of Art History. Despite its promise for the project of art history, the Vienna school is ultimately found wanting, like so many other names and movements in Wood's capacious review, nor is any progress evident in his broader history of art history up to the present. As a corollary perspective, this paper proposes to move beyond what Riegl got wrong in order to emphasize the pertinence of what he got right for advancing art history today, specifically in his group portrait study and above all in relation to the riddle of Rembrandt's Staalmeesters. By bringing Riegl's close readings of mostly 'minor' paintings to bear on monuments of world art by Rembrandt, Riegl between 'applied' and 'high' art, or authorless works and one of the world's foremost authors, who was profoundly concerned with his tradition. These concrete examples also demonstrate how Riegl's elucidations of visual particulars are not in contrast to but rather derive from and inform his theory of the broader development of group portraiture. Riegl sought to explain the Kunstvollen or 'will of art' of Dutch group portraits, what they seek to do as art.5 His approach is preferable to and directly applicable to current interpretations, I submit, and can thus serve as a corrective or a means of 'Vienna schooling' Dutch art scholarship. Conversely, situating Riegl's group portrait study, as his last major work and potentially the culmination of his thought, in relation to subsequent approaches can yield new insights into his place within the history of art history, a 'Vienna school' perspective applied to the Vienna school itself. From such a synthetic or cumulative art historiography and history of art history, looking backward in order to move forward, we can more perfectly realize the project of art history.
Journal Article
Van Gogh and the seasons
\"The changing seasons captivated Vincent van Gogh (1853-90), who saw in their unending cycle the majesty of nature and the existence of a higher force. Van Gogh and the Seasons is the first book to explore this central aspect of van Gogh's life and work. Van Gogh often linked the seasons to rural life and labor as men and women worked the land throughout the year. From his depictions of peasants and sowers to winter gardens, riverbanks, orchards, and harvests, he painted scenes that richly evoke the sensory pleasures and deprivations particular to each season. This stunning book brings to life the locales that defined his tumultuous career, from Arles, where he experienced his most crucial period of creativity, to Auvers-sur-Oise, where he committed suicide. It looks at van Gogh's interpretation of nature, the religious implications of the seasons in the era in which he lived, and how his art was perceived against the backdrop of various symbolist factions, antimaterialist debates, and esoteric beliefs in fin de siلecle Paris. The book also features revealing extracts from the artist's correspondence and artworks from his own collection that provide essential context to the themes in his work\"-- Publisher's description.
BOOK
Images of the tropics
Images of the Tropics critically examines Dutch colonial culture in the Netherlands Indies through the prism of landscape art. Susie Protschky contends that visual representations of nature and landscape were core elements of how Europeans understood the tropics, justified their territorial claims in the region, and understood their place both in imperial Europe and in colonized Asia during the nineteenth and early twentieth centuries. Her book thus makes a significant contribution to studies of empire, art and environment, as well as to histories of Indonesia and Europe.
eBook
Van Gogh and Britain
Van Gogh and Britain at Tate Britain will be the first major exhibition both to explore the impact of British culture on Vincent van Gogh and to trace the introduction of his art into Britain and its legacy in the works of British painters. Published to accompany the show, this lavishly illustrated publication illustrates fifty van Gogh paintings, and traces the story from the artist's obscure years in England in the 1870s through his growing influence and reputation to iconic status in the 1950s. These works are accompanied by paintings by British artists that affected him and which he in turn inspired.
Book
Apocalypse Now: On Heinrich von Kleist, Caspar David Friedrich, and the Emergence of Abstract Art
While discussions of abstract art usually imply that the movement began in the twentieth century, its conceptualization pre-dates its identification as a distinct tendency in the visual arts. One early text that articulates the premises of abstract art is Heinrich von Kleist's \"Empfindungen vor Friedrichs Seelandschaft,\" his narrative response from 1810 to Caspar David Friedrich's controversial painting Der Mönch am Meer. For all its inherent radicality and despite its departure from mimetic representation, Der Mönch am Meer dots not constitute a leap on the part of Friedrich to abstract aesthetics. Rather, I argue that, in his re-imagining oí Der Mönch am Meer, Kleist crosses this threshold, constituting a vision of nonrepresentational art nearly a century prior to its purported existence. As I show by examining both painting and prose, what Friedrich anticipates with his visual image, Kleist describes in his written text.
Journal Article