watteeuw bert (27 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.

Condizione: New.

paperback. Condizione: New. 1st.

Softcover. Condizione: VG. Black & color illus. wraps, French flaps, 277 pp., BW illus. A collection of 13 illustrated essays that explore this topic. Essays are supplied in the language of their authors; 10 are in English, 2 are in Dutch, one is in German. The essays are: Between physiognomy and pathognomy: theoretical perspectives on the representation of characters and emotions in the seventeenth century / Jacques Bos -- Stoisch Sterben lernen: Rubens' Memorialbild auf Justus Lipsius and Philip Rubens / Ulrich Heinen -- Een news voor kunst. De Antwerpse liefhebber Jacomo de Cachiopin (1591/92--1659) en zijn collectie / Bert Watteeuw -- A physician's view beyond the curtains of seventeenth-century Flemish and Dutch baroque portraits / Jan Dequeker -- The portrait historié in religious context and its condemnation / Rudie van Leeuwen -- "According to old custom": The seventeenth-century portrait series depicting the land commanders of the Teutonic Order of Knights, Utrecht Bailiwick / Daantje Meuwissen -- Naked or not? : some thoughts on nudity and portraiture in seventeenth-century painting / Karolien De Clippel -- De herontdekking van het portret van de familie Van Mierevelt / Rudi Ekkart -- (Family) portraits in the construction of a visual family tree and a social identity: anticipating the aspirations of elite clientele in seventeenth-century Antwerp / Bert Timmermans -- The performative portrait historié / Ann Jensen Adams -- The importance of place in Pieter Thys's group portrait of the wardens of the Holy Sacrament Chapel in St. Jacob's Church, Antwerp / Jeffrey Muller -- Portraits of women who 'do not keep strictly to the Masculine and Feminine Genders, as they call them' / Zirka Z. Filipczak -- "Amoris et doloris monumentum" : portraits and how they were perceived in the baroque age / Katlijne Van der Stighelen.

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.

Condizione: As New. Unread book in perfect condition.

Condizione: As New. Unread book in perfect condition.

Paperback. Condizione: New.

Paperback. Condizione: new. Paperback. Long dismissed as dull face painting, portraiture as a visual art gained new interest with the rise of contextual art history, the study of works of arts as products, reflections, and sometimes motivators of the social and cultural concerns of their time. Whether taken to encompass the studies of anonymus heads that have now been shown to belong to the seperate category of 'tronies', or confined more strictly to the representation of individuals whose historical identity is essential to the content of the work, portraiture clearly constituted a fascination for Dutch and Flemish consumers of the early modern period. The aim of this volume is to show a balanced hand of current international research on 17th-century Flemish and Dutch - apparently pokerfaced - portraiture. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Condizione: New.

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

Kartoniert / Broschiert. Condizione: New.

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

Condizione: New.

hardcover. Condizione: New.

Condizione: As New. Unread book in perfect condition.

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

Condizione: As New. Unread book in perfect condition.

Paperback. Condizione: New.

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

Condizione: New.

Hardcover. Condizione: new. Hardcover. 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 raisonne 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. Women and portraiture are the core themes of the essays assembled in this book. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condizione: new. Paperback. Long dismissed as dull face painting, portraiture as a visual art gained new interest with the rise of contextual art history, the study of works of arts as products, reflections, and sometimes motivators of the social and cultural concerns of their time. Whether taken to encompass the studies of anonymus heads that have now been shown to belong to the seperate category of 'tronies', or confined more strictly to the representation of individuals whose historical identity is essential to the content of the work, portraiture clearly constituted a fascination for Dutch and Flemish consumers of the early modern period. The aim of this volume is to show a balanced hand of current international research on 17th-century Flemish and Dutch - apparently pokerfaced - portraiture. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

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

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

Hardcover. Condizione: new. Hardcover. 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 raisonne 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. Women and portraiture are the core themes of the essays assembled in this book. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

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 raisonné 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 Büttner, 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 Previously Unrecorded Landscape Painter: Catrina Tieling, 1670-? Judith Noorman, 'Elck heeft sijn eijgen pop': Dollmaker Drawings by Leonart Bramer and Dolls as Indicators of Class and Identity Anna Orlando, Sofonisba and van Dyck: A Matter of Style Marjan Sterckx, Talent and Sentiment: A Portrait of the Artist Marie-Anne Collot (1748-1821) as a Young Woman Jan Van der Stock, Women Who Stood Their Ground in the Guild of St Luke at the Beginning of Antwerp's 'Golden Age', 1453-1552 Francisca van Vloten, From 'Russian Rembrandt' to 'Baronin' and 'Nonna': Marianne von Werefkin (1860-1938), Evolution and Appreciation Wendy Wiertz, Craft, Gender, and Humanitarian Aid: The Representation of Belgian Lacemakers in the Era of World War I Beatrijs Wolters van der Wey, Catharina Pepyn, Rising Star III: Partners & Patrons Rudi Ekkart and Claire van den Donk, In the Lead: Another Look at the Role of Women in Seventeenth-Century Family Portraits Valerie Herremans, Arte et Marte: Countess Maria-Anna Mulert-van den Tympel and Ian-Christiaen Hansche's Pioneering Stucco Ceilings in Horst Castle (1655) Corina Kleinert, Hidden in the Footnotes: The Collection of Anna-Isabella van den Berghe, 1677-1754 Hannelore Magnus, 'Periculum in Mora': Frans Langhemans the Younger (1661-c.1720) and the Scandalous Elopement of Maria Cecilia de Wille Volker Manuth and Marieke de Winkel, The Marital Misfortunes and Messy Divorce of a Mennonite Woman: Catharina Hoogsaet Sarah Joan Moran, Court Beguinage Mistresses as Art Curators Erik Muls, Isabella and Catharina Ondermarck: Spiritual Daughters on a Mission Eric Jan Sluijter, Rembrandt's Saskia Laughing (1633): The Affect and Effect of Reciprocal Love Bert Timmermans, Art Patronage in an Unequal Playing Field: Women's Convents during the Building Boom of the Antwerp 'Invasion Conventuelle' Ben van Beneden, A Flemish Shepherd for Amalia? Some Thoughts on a Newly Discovered Painting by Thomas Willeboirts Bosschaert Carla van de Puttelaar, Marriage in Painting: