Falkenburg reindert (138 risultati)

Condizione: Brand New. 6.14x0.87x8.39 inches. In Stock.

Rústica. Condizione: New. Condizione sovraccoperta: Nuevo. 01. Este libro examina las aportaciones del Bosco y Bruegel, así como de algunos de sus contemporáneos, al naciente género de la pintura del paisaje, todavía en proceso de formación en ese momento. Se aborda también la cuestión de las relaciones históricas entre la imagen y el observador y cómo reaccionaban a su estética pictórica y su contenido. LIBRO.…

Condizione: New.

Buch. Condizione: Neu. Neuware -The word schilderachtig - painterly - captures the paradoxical phenomenon that early seventeenth-century Dutch landscape paintings emphatically favor the unassuming nature of the countryside in order to bring out the very artfulness of their pictorial representation.Dutch seventeenth-century landscape painting has often been characterized as schilderachtig - literally: »painterly.« Referring to a certain looseness in the handling of the brush, the seemingly tautological and rarely critically discussed term also captures the idea that the landscape image »realistically« renders the, rather unassuming, idiosyncrasies of the Dutch countryside, including the often-overcast skies, moist and windy atmospheric conditions, without any aesthetic or other value judgement about the appropriateness of these motifs for a work of art. The book argues that early in the seventeenth century, however, the term had specifically rhyparographic connotations related to the proverbial Hollandse botheid (»Dutch rudeness«). In accordance, Jan van Goyen (1596-1656) and others began to depict base and even hideous aspects of the countryside not as the coincidental result of an indiscriminatory pictorial mimesis concept, but resulting from a preference for motifs of questionable »paint-worthiness« - in order, by way of contrast, to bring out the painter`s art-full representational skill per se. Schilderachtig stood for the contradictio in picturis of Hollandse botheid as a paradoxical means to evince »painterly« artifice. 232 pp. Englisch.…

Buch. Condizione: Neu. Neuware -The word schilderachtig - painterly - captures the paradoxical phenomenon that early seventeenth-century Dutch landscape paintings emphatically favor the unassuming nature of the countryside in order to bring out the very artfulness of their pictorial representation.Dutch seventeenth-century landscape painting has often been characterized as schilderachtig - literally: »painterly.« Referring to a certain looseness in the handling of the brush, the seemingly tautological and rarely critically discussed term also captures the idea that the landscape image »realistically« renders the, rather unassuming, idiosyncrasies of the Dutch countryside, including the often-overcast skies, moist and windy atmospheric conditions, without any aesthetic or other value judgement about the appropriateness of these motifs for a work of art. The book argues that early in the seventeenth century, however, the term had specifically rhyparographic connotations related to the proverbial Hollandse botheid (»Dutch rudeness«). In accordance, Jan van Goyen (1596-1656) and others began to depict base and even hideous aspects of the countryside not as the coincidental result of an indiscriminatory pictorial mimesis concept, but resulting from a preference for motifs of questionable »paint-worthiness« - in order, by way of contrast, to bring out the painter`s art-full representational skill per se. Schilderachtig stood for the contradictio in picturis of Hollandse botheid as a paradoxical means to evince »painterly« artifice. 232 pp. Englisch.…

Paperback. Condizione: As New. Condizione sovraccoperta: No Dust Jacket As Issued. Reprint. A clean tight copy in new condition, showing only light shelf and edge wear and appearing unread! New Old Stock. ; 10 X 7.48 X 0.71 inches.

Buch. Condizione: Neu. Neuware -The word schilderachtig - painterly - captures the paradoxical phenomenon that early seventeenth-century Dutch landscape paintings emphatically favor the unassuming nature of the countryside in order to bring out the very artfulness of their pictorial representation.Dutch seventeenth-century landscape painting has often been characterized as schilderachtig - literally: 'painterly.' Referring to a certain looseness in the handling of the brush, the seemingly tautological and rarely critically discussed term also captures the idea that the landscape image 'realistically' renders the, rather unassuming, idiosyncrasies of the Dutch countryside, including the often-overcast skies, moist and windy atmospheric conditions, without any aesthetic or other value judgement about the appropriateness of these motifs for a work of art. The book argues that early in the seventeenth century, however, the term had specifically rhyparographic connotations related to the proverbial Hollandse botheid ('Dutch rudeness'). In accordance, Jan van Goyen (1596-1656) and others began to depict base and even hideous aspects of the countryside not as the coincidental result of an indiscriminatory pictorial mimesis concept, but resulting from a preference for motifs of questionable 'paint-worthiness' - in order, by way of contrast, to bring out the painter`s art-full representational skill per se. Schilderachtig stood for the contradictio in picturis of Hollandse botheid as a paradoxical means to evince 'painterly' artifice.…

Buch. Condizione: Neu. Neuware - The word schilderachtig - painterly - captures the paradoxical phenomenon that early seventeenth-century Dutch landscape paintings emphatically favor the unassuming nature of the countryside in order to bring out the very artfulness of their pictorial representation.Dutch seventeenth-century landscape painting has often been characterized as schilderachtig - literally: »painterly.« Referring to a certain looseness in the handling of the brush, the seemingly tautological and rarely critically discussed term also captures the idea that the landscape image »realistically« renders the, rather unassuming, idiosyncrasies of the Dutch countryside, including the often-overcast skies, moist and windy atmospheric conditions, without any aesthetic or other value judgement about the appropriateness of these motifs for a work of art. The book argues that early in the seventeenth century, however, the term had specifically rhyparographic connotations related to the proverbial Hollandse botheid (»Dutch rudeness«). In accordance, Jan van Goyen (1596-1656) and others began to depict base and even hideous aspects of the countryside not as the coincidental result of an indiscriminatory pictorial mimesis concept, but resulting from a preference for motifs of questionable »paint-worthiness« - in order, by way of contrast, to bring out the painter`s art-full representational skill per se. Schilderachtig stood for the contradictio in picturis of Hollandse botheid as a paradoxical means to evince »painterly« artifice.…

Bound in cloth, with dust jacket. Text in English. Many ills in b/w. 280 p. -(Soem shelf-wear to the dj, a stamp on the half-title, but otherwise in very good condition.).

Kartoniert / Broschiert. Condizione: New. The word schilderachtig - painterly - captures the paradoxical phenomenon that early seventeenth-century Dutch landscape paintings emphatically favor the unassuming nature of the countryside in order to bring out the very artfulness of their pictorial repre.

Paperback. Condizione: New. Hieronymus Bosch's Garden of Earthly Delights is one of the most enigmatic paintings in the history of western art. Apart from a brief description by an eyewitness in 1517, there are no contemporary records that tell us anything about the original commission of the painting, its placement, function or audience.Reindert Falkenburg now offers a detailed analysis of Bosch's eye- and mind boggling play with pictorial traditions. He argues that the painting was created towards the end of the fifteenth century as a conversation piece for an audience of Burgundian nobles. He suggests that the Garden of Earthly Delights served as a multifaceted mirror for viewers to reflect on how humanity, while created in the image and likeness of God, in the course of history has lost its original identity and tends towards becoming one with a world that is susceptible to an all-perverting force of evil origin. This debatable nature of Bosch's imagery is central to any engaged viewership, historical or modern.…

Buch. Condizione: Neu. Neuware -The word schilderachtig - painterly - captures the paradoxical phenomenon that early seventeenth-century Dutch landscape paintings emphatically favor the unassuming nature of the countryside in order to bring out the very artfulness of their pictorial representation.Dutch seventeenth-century landscape painting has often been characterized as schilderachtig - literally: 'painterly.' Referring to a certain looseness in the handling of the brush, the seemingly tautological and rarely critically discussed term also captures the idea that the landscape image 'realistically' renders the, rather unassuming, idiosyncrasies of the Dutch countryside, including the often-overcast skies, moist and windy atmospheric conditions, without any aesthetic or other value judgement about the appropriateness of these motifs for a work of art. The book argues that early in the seventeenth century, however, the term had specifically rhyparographic connotations related to the proverbial Hollandse botheid ('Dutch rudeness'). In accordance, Jan van Goyen (1596-1656) and others began to depict base and even hideous aspects of the countryside not as the coincidental result of an indiscriminatory pictorial mimesis concept, but resulting from a preference for motifs of questionable 'paint-worthiness' - in order, by way of contrast, to bring out the painter`s art-full representational skill per se. Schilderachtig stood for the contradictio in picturis of Hollandse botheid as a paradoxical means to evince 'painterly' artifice.Wallstein Verlag GmbH, Geiststraße 11, 37073 Göttingen 232 pp. Englisch.…

Buch. Condizione: Neu. Jan van Goyen 'Painting Bad' | Schilderachtig Landscape Imagery in Early Seventeenth-Century Dutch Art | Reindert Falkenburg | Buch | BildEvidenz | 232 S. | Englisch | 2024 | Wallstein Verlag GmbH | EAN 9783835355538 | Verantwortliche Person für die EU: Wallstein Verlag GmbH, Geiststr. 11, 37073 Göttingen, info[at]wallstein-verlag[dot]de | Anbieter: preigu. …

Condizione: New.

Condizione: New.

Condizione: As New. Unread book in perfect condition.

Condizione: New.

hardbound, pictorial boards, 8vo xxviii+483 pp., 159 ills. 15 contributions by different authors; Hieronymus Bosch, Rubens, Barberino, Leonardo, Breughel; LIKE NEW condition.

Paperback. Condizione: New. Hieronymus Bosch's Garden of Earthly Delights is one of the most enigmatic paintings in the history of western art. Apart from a brief description by an eyewitness in 1517, there are no contemporary records that tell us anything about the original commission of the painting, its placement, function or audience.Reindert Falkenburg now offers a detailed analysis of Bosch's eye- and mind boggling play with pictorial traditions. He argues that the painting was created towards the end of the fifteenth century as a conversation piece for an audience of Burgundian nobles. He suggests that the Garden of Earthly Delights served as a multifaceted mirror for viewers to reflect on how humanity, while created in the image and likeness of God, in the course of history has lost its original identity and tends towards becoming one with a world that is susceptible to an all-perverting force of evil origin. This debatable nature of Bosch's imagery is central to any engaged viewership, historical or modern.…

Buch. Condizione: Neu. Neuware -The word schilderachtig - painterly - captures the paradoxical phenomenon that early seventeenth-century Dutch landscape paintings emphatically favor the unassuming nature of the countryside in order to bring out the very artfulness of their pictorial representation.Dutch seventeenth-century landscape painting has often been characterized as schilderachtig - literally: 'painterly.' Referring to a certain looseness in the handling of the brush, the seemingly tautological and rarely critically discussed term also captures the idea that the landscape image 'realistically' renders the, rather unassuming, idiosyncrasies of the Dutch countryside, including the often-overcast skies, moist and windy atmospheric conditions, without any aesthetic or other value judgement about the appropriateness of these motifs for a work of art. The book argues that early in the seventeenth century, however, the term had specifically rhyparographic connotations related to the proverbial Hollandse botheid ('Dutch rudeness'). In accordance, Jan van Goyen (1596-1656) and others began to depict base and even hideous aspects of the countryside not as the coincidental result of an indiscriminatory pictorial mimesis concept, but resulting from a preference for motifs of questionable 'paint-worthiness' - in order, by way of contrast, to bring out the painter`s art-full representational skill per se. Schilderachtig stood for the contradictio in picturis of Hollandse botheid as a paradoxical means to evince 'painterly' artifice. 232 pp. Englisch.…

Condizione: As New. Unread book in perfect condition.

Paperback. Condizione: New. Hieronymus Bosch's Garden of Earthly Delights is one of the most enigmatic paintings in the history of western art. Apart from a brief description by an eyewitness in 1517, there are no contemporary records that tell us anything about the original commission of the painting, its placement, function or audience.Reindert Falkenburg now offers a detailed analysis of Bosch's eye- and mind boggling play with pictorial traditions. He argues that the painting was created towards the end of the fifteenth century as a conversation piece for an audience of Burgundian nobles. He suggests that the Garden of Earthly Delights served as a multifaceted mirror for viewers to reflect on how humanity, while created in the image and likeness of God, in the course of history has lost its original identity and tends towards becoming one with a world that is susceptible to an all-perverting force of evil origin. This debatable nature of Bosch's imagery is central to any engaged viewership, historical or modern.…

Zwolle, Waanders Uitgevers, [1998]. 307 pp. B./w. ills. Orig. hardcover (black cloth with silver lettering), d./j. 8vo. (Nederlands kunsthistorisch jaarboek 1998, Deel 49).An overview of a number of large public festivals that took place in the Netherlands in the period 1549-1749, and were usually organised by the government. Includes nine contributions (4 in English, 4 in Dutch, 1 in German) by Emily Peters, Mark A. Meadow, Stephanie Schrader, et al.…

Condizione: New. KlappentextThis study aims at reconstructing the historical viewership of Hieronymus Bosch s Garden of Earthly Delights, using the painting itself as a major source of information.

hardcover. Condizione: New. 1st.

Taschenbuch. Condizione: Neu. Neuware - Hieronymus Bosch's Garden of Earthly Delights is one of the most enigmatic paintings in the history of western art. Apart from a brief description by an eyewitness in 1517, there are no contemporary records that tell us anything about the original commission of the painting, its placement, function or audience.Reindert Falkenburg now offers a detailed analysis of Bosch's eye- and mind boggling play with pictorial traditions. He argues that the painting was created towards the end of the fifteenth century as a conversation piece for an audience of Burgundian nobles. He suggests that the Garden of Earthly Delights served as a multifaceted mirror for viewers to reflect on how humanity, while created in the image and likeness of God, in the course of history has lost its original identity and tends towards becoming one with a world that is susceptible to an all-perverting force of evil origin. This debatable nature of Bosch's imagery is central to any engaged viewership, historical or modern.…

Paperback. Condizione: New. Hieronymus Bosch's Garden of Earthly Delights is one of the most enigmatic paintings in the history of western art. Apart from a brief description by an eyewitness in 1517, there are no contemporary records that tell us anything about the original commission of the painting, its placement, function or audience.Reindert Falkenburg now offers a detailed analysis of Bosch's eye- and mind boggling play with pictorial traditions. He argues that the painting was created towards the end of the fifteenth century as a conversation piece for an audience of Burgundian nobles. He suggests that the Garden of Earthly Delights served as a multifaceted mirror for viewers to reflect on how humanity, while created in the image and likeness of God, in the course of history has lost its original identity and tends towards becoming one with a world that is susceptible to an all-perverting force of evil origin. This debatable nature of Bosch's imagery is central to any engaged viewership, historical or modern.…

Condizione: As New. Unread book in perfect condition.

Hardcover. Condizione: Very Good. VG hardcover missing original dust jacket. Blue cloth boards protected in a transparent, glassine jacket. Amsterdam: John Benjamins Publishing, 1968. 234 pp. Found instances of scholarly margin notes in pencil ONLY. Ships fast with tracking.

Softcover. Condizione: gut. 2017. A prayer nut is a small-scale boxwood carving containing very detailed depictions of events taken from the lives of biblical figures and saints. These carvings served as instruments of individual piety, that is, for private devotion; they were especially appreciated when located in a surrounding environment, where the knowledgeable viewing of art became a value in itself. It was in the early modern Kunstkammer of the sixteenth and seventeenth century that prayer nuts would have been studied and admired. The publication contains the papers of a colloquium held in 2012 on the occasion of the discovery of a manuscript,with a meticulous seventeenth-century description of a prayer nut that can be identified with the Magdalen prayer nut in the Abegg-Stiftung. The twenty-six colour plates of the prayer nut and the manuscript invite the reader to study not only a master-piece of miniature carving, but also to comprehend an exceptional source of art historiography in the Northern Renaissance. Mitglied der Redaktion: Henry B. Hohmann Verlagsort Riggisberg Sprache englisch Maße 230 x 310 mm Einbandart Englisch Broschur Kunst Musik Theater Kunstgeschichte Kunststile Geisteswissenschaften Geschichte Betnuss Kunstkammer Niederlande Prayer Nut Renaissance Schnitzerei ISBN-10 3-905014-64-5 3905014645 ISBN-13 978-3-905014-64-8 9783905014648 Prayer Nuts, Private Devotion, and Early Modern Art Collecting Riggisberger Berichte 22 Wetter, Evelin; Scholten, Frits; Hohmann, Henry B.; Ellis, Lisa; Falkenburg, Reindert; Kavaler, Evan Matt; Reesing, Ingmar; Chipps Smith, Jeffrey; Suda, Alexandra and Veldman, Ilja M. Evelin Wetter (Herausgeber, Autor), Frits Scholten (Herausgeber, Autor), Henry B. Hohmann (Herausgeber), Lisa Ellis (Autor), Reindert Falkenburg (Autor), Evan Matt Kavaler (Autor), Ingmar Reesing (Autor), Chipps Smith, Jeffrey (Autor), Alexandra Suda (Autor), Ilja M. Veldman (Autor) Abegg-Stift. Verlag Abegg-Stiftung In englischer Sprache. 236 pages. 230 x 310 mm.…