Bert watteeuw (30 risultati)

Trade Paperback. Condizione: VG-. used trade paperback edition. lightly shelfworn, corners perhaps slightly bumped, covers lightly scuffed. pages and binding are clean, straight and tight. there are no marks to the text or other serious flaws.

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paperback. Condizione: New. 1st.

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Soft cover. Condizione: Very Good. All of our books without an ISBN number (normally pre-1970 in date) are described individually in detail. Books with an ISBN number (this one included) are all offered for sale in good condition or better: some may be in very good, near fine, or fine condition. If the condition is critical to your decision to purchase, then please contact us and we will let you know our view of its condition. If the book is very heavy, we will may need to contact you before completion of purchase to advise you of extra postage costs.…

Paperback. Condizione: Brand New. 01 edition. 277 pages. 11.25x8.00x0.50 inches. In Stock.

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Paperback. Condizione: New.

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Condizione: New. 2011. 1st Edition. paperback. . . . . .

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Condizione: New.

hardcover. Condizione: New.

HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

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Condizione: New. 2011. 1st Edition. paperback. . . . . . Books ship from the US and Ireland.

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Hardcover. Condizione: Brand New. 436 pages. 10.98x9.02x9.00 inches. In Stock.

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HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Condizione: New. 2024. 1st Edition. hardcover. . . . . .

Condizione: New. 2024. 1st Edition. hardcover. . . . . . Books ship from the US and Ireland.

Condizione: gut. Pokerfaced. Flemish and Dutch Baroque Faces Unveiled In deutscher Sprache. pages.

Condizione: gut. Campaspe Talks Back. Women Who Made a Difference in Early Modern Art In deutscher Sprache. pages.

Hardcover. Condizione: New. 11.3 X 9.6 X 1.1 inches; 320 pages.

Hardcover. Condizione: New.

Hardback, 436 pages, Size:230 x 280 mm, Illustrations:10 b/w, 196 col., 2 tables b/w., Language: English.*New. ISBN 9782503613055. Summary With forty-three contributions this book pays homage to Katlijne Van der Stighelen, who has shown exceptional range in her own contributions to the history of art in the Southern Netherlands and beyond. With monographs on Peter Paul Rubens and Anthony van Dyck, she has considerably expanded scholarship on canonical artists. Yet early on, a catalogue raisonn of the portraits of the lesser-known Cornelis de Vos revealed that Van der Stighelen was not one to preserve the status quo but to challenge it. Mindful of protagonists and their historiographical pull, she has consistently rehabilitated artists relegated to the background, in some cases by single-handedly saving them from total oblivion and - remarkable feat - having them added to the canon. Portraiture, supposedly a sijd-wegh der consten, was paved into a central avenue of inquiry in Van der Stighelen's work. Her approach to the genre made it into a pathway for the introduction of women artists. What was a sijd-wegh became a zij-weg. From seminal publications on Anna-Maria van Schurman to revelatory exhibitions on Michaelina Wautier, Van der Stighelen's particular brand of feminism has impacted scholarship as deeply as it has touched the museum-going public. Women and portraiture are the core themes of the essays assembled in this book. The resulting group portrait is crowded and rambunctious and reflects the varied subject matter that has attracted Van der Stighelen's professional attention. It also paints a partial portrait of the community of scholars that she has so generously fostered. In trying to summarize the motivations of authors to contribute to this volume or the gratitude of generations of art historians trained by her, it is best to quote the title of the first exhibition on women artists in Belgium and The Netherlands, which Van der Stighelen curated in 1999: Elck zijn waerom. TABLE OF CONTENTS Introduction Campaspe, Apelles, and Alexander the Great Hans Vlieghe, Katlijne: Portrait of an Art Historian I: Sitters & Subjects Barbara Baert, Cutting the Gaze: Salome in Andrea Solario's Oeuvre (c. 1465-1524) Nils B ttner, Rubens, the Capaio Ladies, and Their Niece Hans Cools, Why Margaret of Parma Should Make It to the Next Version of the Flemish Canon Liesbeth De Belie, Concerning Orbs and the Value of a Destroyed Portrait Guy Delmarcel, The Virtuous Women of the Bible: A Series of Baroque Tapestries from Bruges and Their Mysteries Gerlinde Gruber, Brave (if Brazen) Women: Spartans, not Amazons, by Otto van Veen (1556-1629) Karen Hearn, Portrait of a Poisoner? An Early Seventeenth-Century British Female Portrait Reconsidered Fiona Healy, Sacred History Imitating Real Life: How a Curious Portrayal of the Birth of the Virgin Reflects Childbirth Practices in the Early Modern Period Koenraad Jonckheere, Rubens's Verwe: Head Studies and Complexion Elizabeth McGrath, The Girls in Rubens's Allegory of Peace Hubert Meeus, Judith's Maid Bert Schepers, Lifting the Veil on Justus van Egmont (1602-1674): On Cleopatra Approaching Alexandria and Some Other Newly Identified Designs for Tapestries Lieke van Deinsen, The Voiceless Virgin and the Speaking Likeness: Anna Maria van Schurman's Portrait as a Labadist Hans Vlieghe, Portrait of a Young Woman in Triplicate: On a 'Rubensian' Head Study II: Artists & Artisans Rudy Jos Beerens, Unravelling the Story of Jannetje Laurensd. Wouters (c. 1640-1722), Tapitsierster Ralph Dekoninck, Pausias and Glycera by Rubens and Beert: Amorous Emulation and/or Mimetic Rivalry Kirsten Derks, Leaving Her Mark: Michaelina Wautier's Signing Practice Inez De Prekel, Female Artists and Artisans in the Antwerp Guild of St Luke, 1629-1719 Ad Leerintveld, Constantijn Huygens and Louise Hollandine, Princess of the Palatinate, or How High a Highness Could Rise in the Arts Fred G. Meijer, All in the Family: A Previous.…

Condizione: gut. Rubens prive, De meester portretteert zijn familie In deutscher Sprache. pages.