The Metropolitan Museum of Art holds one of the most significant and best-known collections of European paintings in the world. The second of Scala's Walking Guide series with the Metropolitan, this handy, fully illustrated book provides an accessible walking tour of the newly expanded galleries of Old Masters and 19th-century European paintings at the Museum, reopening to the public in their entirety in May 2013. Visits to the Old Master galleries include northern European painting from Van Eyck to Reynolds; Italian Renaissance, from Giotto to Titian; Italian Baroque, from Caravaggio to Tiepolo; and French and Spanish painting from Poussin to Goya. Nineteenth-century visits include northern European painting from Ingres to Turner and two itineraries featuring impressionism and its precursors through post-impressionism, from Courbet, Manet, and Degas to Monet to Picasso. Each tour is presented via maps (with room numbers), cogent descriptions, and helpful landmarks to orient the visitor through the galleries of one of the most celebrated and popular areas of the Metropolitan. AUTHOR: Keith Christiansen is John Pope-Hennessy Chairman, and Katharine Baetjer is Curator, in the Department of European Paintings at The Metropolitan Museum of Art. SELLING POINTS: Features iconic masterpieces such as Rembrandt's Aristotle with a Bust of Homer, Veronese's Venus and Mars, El Greco's View of Toledo, Vermeer's Young Woman with a Water Jug, Cezanne's Card Players, Degas's Dance Class, Van Gogh's Wheat Field with Cypresses, and Monet's Bridge over a Pond of Waterlilies, among many others Only guide available of the expanded galleries of European paintings at The Metropolitan Museum of Art 100 colour illustrations
Ekphrasis, the description of pictorial art in words, is the subject of this bibliography. More specifically, some 2500 poems on paintings are catalogued. An additional list provides the locations of such poems in museum collections, other anthologies, and books of poems by a single author. Also included are 2000 entries on the secondary literature of ekphrasis, including works on sculpture, music, photography, film, and mixed media.
A revised survey of Rembrandt's complete painted oeuvre.
The question of which 17th-century paintings in Rembrandt's style were actually painted by Rembrandt himself had already become an issue during his lifetime. It is an issue that is still hotly disputed among art historians today.
The problem arose because Rembrandt had numerous pupils who learned the art of painting by imitating their master or by assisting him with his work as a portrait painter. He also left pieces unfinished, to be completed by others.
The question is how to determine which works were from Rembrandt's own hand. Can we, for example, define the criteria of quality that would allow us to distinguish the master's work from that of his followers? Do we yet have methods of investigation that would deliver objective evidence of authenticity? To what extent do research techniques used in the physical sciences help? Or are we, after all, still dependent on the subjective, expert eye of the connoisseur? The book provides answers to these questions.
Prof. Ernst van de Wetering, the author of our forthcoming book which deals with these questions, has been closely involved in all aspects of this research since 1968, the year the renowned Rembrandt Research Project (RRP) was founded. In particular, he played an important role in developing new criteria for authentication. Van de Wetering was also witness to the way the often overly zealous tendency to doubt the authenticity of Rembrandt's paintings got out of hand. In this book he re-attributes to the master a substantial number of unjustly rejected Rembrandts. He also was closely involved in the (re)discovery of a considerable number of lost or completely unknown works by Rembrandt.
The verdicts of earlier specialists - including the majority of members of the original RRP (up to 1989) - were based on connoisseurship: the self-confidence in one's ability to recognise a specific artist's style and 'hand'. Over the years, Van de Wetering has carried out seminal research into 17th-century studio practice and ideas about art current in Rembrandt's time. In this book he demonstrates the fallibility of traditional connoisseurship, especially in the case of Rembrandt, who was par excellence a searching artist.
The methodological implications of this critical view are discussed in an introductory chapter which relates the history of the developments in this turbulent field of research. Van de Wetering's account of his own involvement in it makes this book a lively and sometimes unexpectedly personal account.
The catalogue section presents a chronologically ordered survey of Rembrandt's entire painted oeuvre of 336 paintings, richly illustrated and annotated. For all the paintings re-attributed in this book, extensive commentaries have been included that provide a multi-facetted new insight into Rembrandt's world and the world of art-historical research.
Rembrandt's Paintings Revisited is the concluding sixth volume of A Corpus of Rembrandt Paintings (Volumes I-V; 1982, 1986, 1989, 2005, 2010). It can also be read as a revisionary critique of the first three Volumes published by the old RRP team up till 1989 and of Gerson's influential survey of Rembrandt's painted oeuvre of 1968/69. At the same time, the book is designed as an independent overview that can be used on the basis that anyone seeking more detailed information will be referred to the five previous (digital versions of the) Volumes and the detailed catalogues published in the meantime by the various museums with collections of Rembrandt paintings.
This work of art history and art research should belong in the library of every serious art historical institute, university or museum.
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The 132 drawings catalogued document most of the major examples of ancient Roman pictorial art known to seventeenth-century Rome. They include early finding such as the Aldobrandini Wedding, the Nile mosaic from Palestrina, tha marble pictures from the Basilica of Junius Bassus, and later finds such as the Harbour Landscape (found in 1668) and the Tomb of Nasonii (1674). Detailed accounts are given of the discoveries, and a general introduction assesses the significance of the Cassiano assemblage within the wider context of contemporary antiquarian interest in ancient painting, its collectors and copyists. Cataogue entries describe and discuss the drawings in graet detail, relating them to the original mosaics and wallpaintings as they survive in their present state of preservation. All drawings catalogued are reproduced, mostly on a large scale and mostly in full colour. They are frequently accompanied by illustrations, also in colour, of the ancient originals.
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