- Tapa dura: 168 páginas
- Editor: NAI Uitgevers/Publishers Stichting; Edición: 01 (11 de marzo de 2013)
- Idioma: Inglés
- ISBN-10: 9462080534
- ISBN-13: 978-9462080539
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº376.145 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
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Frans Hals: eye to eye with Rembrandt, Rubens and Titian (Inglés) Tapa dura – 11 mar 2013
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Descripción del producto
An increasing acknowledgement of the artistic connections between the Dutch Republic and the South Netherlands is shaping much current scholarship. This excellent volume by Tummers (Frans Hals Museum) et al. articulates the parallel aesthetic interests among Dutch and Flemish painters, in visible brushwork and subjects. The critical reception of the Venetian Renaissance painter Titian established the theoretical basis for such appreciation of visible painterly strokes. However, the underlying theme of pronounced viscosity in paint links Hals, Rembrandt, and Rubens. Rubbens visited Haarlem in 1612 with the intent to hire engravers from that city. Hals spent some months in Antwerp in 1616. Rembrandt was familiar with the works by Rubens that he viewed in Holland, and would have been familiar with Hals's portraits in Amsterdam collections... Recommended. Upper-division undergraduates through professionals/practitioners.--A. Golahny "CHOICE "
Reseña del editor
2013 is officially Frans Hals Year, marking exactly 100 years since the Frans Hals Museum opened its doors. The most important exhibition in this jubilee year is 'Frans Hals: Eye to Eye with Rembrandt, Rubens and Titian', in which key works by Frans Halsare presented amid paintings by such famed colleagues as Titian, Rembrandt, Van Dyck, Jordaens and Rubens. In this eponymous publication, all the works in the exhibition are presented side by side, enabling the reader to compare the masterpieces and see how the artists inspired one another. These unique confrontations of master painters are essential to an understanding of seventeenth-century art. Famous painters, after all, often produced their works in response to one another, with the aim of surpassing the other and creating something unique. (Exhibition: Frans Hals Museum, Haarlem, the Netherlands (23.3.-28.7.2013)).Ver Descripción del producto
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The four meticulously annotated scholarly essays that precede the catalogue underline the fact that the painters were well aware of what their colleagues were doing and were always looking over each other's shoulders, so to speak. As an example: it turns out that Rembrandt's celebrated device to enliven the action in his "Syndics of the Cloth Makers' Guild" (1661), viz., having one of the men apparently caught in the act of rising from the table, is taken from Hals's "Regents of the St. Elizabeth's Hospital" of twenty years before. And Rembrandt was not even the first to crib the gesture from Hals; Johannes Verspronck had already adopted it in his parallel painting from the same year as Hals's, "The Regentesses of the St. Elizabeth's Hospital in Haarlem" (1641). And Hals himself had modeled the two figures at the extreme right of his table on those in Thomas de Keyser's "Four Burgomasters of Amsterdam Awaiting Marie de Medici" from 1638. This is just one of the very many instances of direct influence and straightforward quotation that the writers discuss; they are not limited only to matters of technique, either--we find the same interaction also in themes (the sole musician in the manner of Caravaggio, the "Pekelharing" or tipsy entertainer, the great banquets of the militia companies, etc.), in composition, in coloration, and in virtually every aspect that they have in common. Understanding the closeness of all this interchange is greatly facilitated by the excellent selection of paintings exhibited (lent by over twenty-five institutions and private collectors) and by the many judiciously chosen companion illustrations. Obviously, such mutual reverberations did not go unnoticed at the time, and there is frequent reference to the judgments and comparisons of the painters' contemporaries, be they painters themselves, collectors and potential buyers, or simply casual observers.
In the catalogue section, all forty-seven exhibited paintings (reproduced in very good color and mostly full-page or half-page, including some blown-up details) are accompanied by a signed commentary by one of the essay writers or another contributor. These are obviously at the forefront of Frans Hals scholarship, and I found them very informative on all manner of things touching the works, from the relationship of genre painting and portraiture to the ranks of the militia officers and the customs of the companies. The volume concludes with a useful selected bibliography and a checklist of the exhibited works with pertinent curatorial data, but it unfortunately has no index. If I could, I would dock it half a star for the lack of an index and especially for the chaotic arrangement of the plates, which are scattered throughout the essay section in a way that makes it very annoying and frustrating for the reader to locate any particular one. Apart from that, however, this is a very interesting and useful examination of the mutual influences among these artists, an excellently produced catalogue that I recommend very highly.