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FINBERG (Alexander J.). CAMERON
The Paintings of D.Y.
London, Paris, New-York The Studio 1919 1 in-4 Cameron. London, Paris, New-York, The Studio, 1919, in-4 à l'italienne, broché, couverture grise.
Reference : 4934
Texte en anglais accompagnant huit reproductions de peintures de CAMERON. Quelques rares piq. éparses, us. à la couv..
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5 book(s) with the same title
THE PAINTINGS OF HENDRICK GOLTZIUS (1558 - 1617) A Monograph and Catalogue Raisonne.
, Davaco, 2013 Cloth bound with dust jacket, 4to. 466 pp. text, 207 plates and ills. (145 in colour). Fine condition! ISBN 9789070288281.
This long-awaited volume is a comprehensive study of the paintings of Hendrick Goltzius (1558-1617), the most important artist in the Netherlands at the turn of the seventeenth century. A poem published in Haarlem in 1617 lamented the death that year of the most artful master Hendrick Goltzius, in his life [a] skillful painter, draftsman, and artful engraver. The fact that "painter" heads the list of his accomplishments is significant, for although Goltzius enjoyed international fame as a draughtsman and engraver, to his contemporaries he was equally renowned for his skill in the art of painting, which was considered the highest artistic calling. This volume on his paintings, the first since Hirschmann's short study of 1916, finally completes a full assessment of this artist of Haarlem, whose drawings were the subject of Reznicek's publication of 1961 and whose prints were catalogued by Leesberg in the New Hollstein series that appeared in 2012. Goltzius abandoned his engraver's burin and turned to painting in the year 1600. Exploring the new medium, he worked on small coppers, as well as large canvases and panels. Goltzius's determination to work in oil, after acquiring international fame as a printmaker, was a deliberate decision to embrace an even greater challenge and to seek greater recognition for his artistry. Although archival records show that Goltzius painted more portraits than has previously been assumed, it was the depiction of the human nude that was his primary goal. He mostly chose to paint biblical and mythological themes: the same subject matter, in fact, that he had treated in his engraved histories. The difference, however, was that Goltzius now began to paint figures that were nearly life-size. His manner of depicting figures may be considered an extension of what he had learned during his stay in Rome (1590-91) and subsequently pursued in his prints of the 1590s. Only rarely are traces of his Spranger-inspired, anti-classical past encountered in his paintings. Instead, Goltzius strove with his brush to portray human forms at once idealized and naturalistic. His points of departure were antique Roman sculpture, the sixteenth-century masters - Michelangelo, Raphael, Titian, Veronese, Durer, and Van Heemskerck - and Rubens, his contemporary. Four chapters are dedicated to a consideration of the reasons for Goltzius's conversion to painting, his biography in the years 1600 to 1617, an examination of the style and iconography of his works in oil, and a thorough review of the critical appraisal of his paintings from his day to the present. The extensive catalogue discusses 59 paintings by Goltzius, and also includes 160 pictures known only from descriptions and 38 rejected works. A lengthy appendix - the result of extensive archival research - includes, in the original language, all known sources that mention Goltzius and every known inventory listing of his paintings.The catalogue of accepted works is ordered iconographically, whereas the color plates of Goltzius's entire extant oeuvre are arranged in chronological order, visually demonstrating the development of his career as a painter. In addition to the color plates, 121 black-and-white figures provide material for comparison. A complete bibliography and three indexes enhance the accessibility and usefulness of this volume.
[Edward Ruscha] - Dean, Robert Erin Wright (eds)
Reference : 087244
(2007)
ISBN : 9783865213686
Edward Ruscha Catalogue Raisonnà of the Paintings Volume 3: 1983-1987. Volume 3
Dean, Robert Erin Wright (eds): Edward Ruscha Catalogue Raisonnà of the Paintings Volume 3: 1983-1987. Volume 3. GÃttingen: 2007. 400pp with numerous colour illustrations. Hardback in a slipcase. 29.2 x 24cms. Each of the 165 paintings reproduced is given an exhibition and bibliographic history and notebook sketches are included. The paintings made after the commission for the Miami-Dade Public Library, show a shift in direction with the use of airbrush techniques. The book also contains a personal tribute by Lawrence Weiner, a chronology to 1987 and a bibliography and exhibition list.
Each of the 165 paintings reproduced is given an exhibition and bibliographic history and notebook sketches are included. The paintings made after the commission for the Miami-Dade Public Library, show a shift in direction with the use of airbrush techniques. The book also contains a personal tribute by Lawrence Weiner, a chronology to 1987 and a bibliography and exhibition list. Text in English
Caspar Netscher and late seventeenth-century Dutch painting / catalogue raisonn of the paintings
, Aetas Aurea, Vol. XVI , Cloth bound with dusjacket, as new !!, 2002. 4to., 542 pp. text, 378 ill. (33 full-page colourplts). ISBN 9070288370.
Caspar Netscher (1635/6-1684) was one of the most acomplished and successful artists active in the Netherlands during the latter part of the seventeenth century. Paradoxically, however, the same factors that made him so successful during his lifetime and into the eighteenth century also occasioned his exclusion from the modern canon of seventeenth-century Dutch painting, for his art represents a decisive move away from the hearty egalitarian aesthetic that prevailed during the earlier part of the century. Responding to (and helping define) his patrons' desire for international style and sophistication, Netscher's exquisite portraits and subject pieces are unmistakably Dutch, yet are imbued with an elegance more in keeping with progressive pan-European tastes.This is the first full-length study to examine the work of this important Dutch artist The text is complemented by an appendix of documents relevant to the artist (most previously unpublished), and concludes with an exhaustive catalogue raisonne of the paintings. The latter contains detailed information on 220 accepted paintings by the artist, 44 problematic attributions (including some compositions known only through copies and works that involve a significant amount of studio assistance); 470 rejected works; and 388 paintings mentioned in the literature prior to 1800 but presently untraced.
Nicolette Sluijter-Seijffert / Translated by Jennifer M. Kilian and Kathy Kist
Reference : 48788
Cornelis van Poelenburch (1594/5-1667): The paintings
NL-, Bejamins, 2016 Hardcover with dusjacket, xi, 408 pp., 176 bl/wh ills. + 195 full color . FINE ISBN 9789027249678.
Cornelis van Poelenburch was one of the very few painters of the Dutch Golden Age to acquire international renown during his lifetime. Only three Dutch artists were honoured with mentions by all of the seventeenth-century biographers who included Netherlandish artists, the others being Rembrandt and Gerrit Dou. His paintings were prized by well-to-do and often aristocratic collectors who were willing to pay high prices for them. Grand-Duke Cosimo II de? Medici, for example, kept four of Poelenburch?s paintings in his private quarters and Stadholder Frederick Henry and his consort owned more works by him than any other Dutch artist. He was a pupil of the influential Utrecht painter Abraham Bloemaert, worked for eight years in Italy, and except for a period of four years when he lived in London and received an annual stipend from King Charles I, spent the rest of his life in Utrecht. Poelenburch?s idyllic, mostly small-sized landscapes on copper or panel and done in a highly refined style and technique usually feature a ?history?: a biblical, mythological or pastoral subject. Nowadays he is known primarily as the leading artist of the first generation of ?Italianate? landscape painters, but in his own time he was lauded mainly for his lively figures with their crisp contours and animated gestures. From the mid-nineteenth century, Poelenburch?s paintings came to be dismissed as ?un-Dutch? and were subsequently neglected and forgotten, together with those of many other seventeenth-century painters who did not fit into the mould of ?Dutch realism?. This first comprehensive monograph on the artist includes a catalogue of his works, along with a discussion of all of his approximately 290 known paintings (all reproduced), and chapters covering his biography, the reception of his art in his own time and in later centuries, and his remarkable position on the seventeenth century art market. [OCULI: Studies in the Arts of the Low Countries, 15]
The paintings of Titian. I. The Religious Paintings
Wethey, Harold E.: The paintings of Titian. I. The Religious Paintings. London: Phaidon, 1969. 390pp with 1 colour plate and 238 monochrome illustrations. Cloth. 31x23.5cms. First volume of the catalogue raisonnÃ. With biography, bibliography and critical catalogue of the artist's religious paintings including lost, attributed and wrongly attributed works.
First volume of the catalogue raisonnÃ. With biography, bibliography and critical catalogue of the artist's religious paintings including lost, attributed and wrongly attributed works. Text in English
