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Antoine Van Dyck 1599-1641.
1 Relié, pleine toile et jaquette illustrée de l'éditeur. 31 x 25,5 cm, 359 p., nombreuses illustrations en couleurs. Gand-Amsterdam, Ludion / Paris, Flammarion, 1999.
![Antoine Van Dyck 1599-1641.. BROWN Christopher, VLIEGHE Hans [dir.].](https://static.livre-rare-book.com/pictures/QKR/353_1_thumb.jpg)
![Antoine Van Dyck 1599-1641.. BROWN Christopher, VLIEGHE Hans [dir.].](https://static.livre-rare-book.com/pictures/QKR/353_2_thumb.jpg)
Exposition à Anvers, Koninklijk Museum voor Schone Kunsten 15 mai - 15 août 1999 et à Londres, Royal Academy of Arts, 11 septembre - 10 décembre 1999. Contributions de Christopher Brown, Katlijne van der Stighelen, Piero Boccardo, Giovanni Mendola, Hans Vlieghe, Malcolm Rogers, Frans Baudouin, Judy Egerton, Hans Vlieghe, Katharine Gibson. Bibliographie, liste des prêteurs, index. Très bon état
David Teniers the Younger: A Biography .
, Brepols, 2011 Hardback with dusjacket, XXVI 214 p., 86 b/w ill., 190 x 250 mm, Languages: English, fine condition !. ISBN 9782503536774.
Despite the fact that David Teniers the Younger has always been considered one of the most important and prolific Flemish painters of the seventeenth-century, no critical biography of the artist exists which draws on the comprehensive documentary evidence of his life and work. Hans Vlieghe's monograph aims to fill this gap. Based on the corpus of all known documentary sources as well as some newly discovered ones, this book traces the path of Teniers success and provides a detailed survey of his relations with his patrons and clientele, while also illuminating his studio practice and associations with fellow artists in Antwerp and Brussels. The author in addition examines Teniers manifold activities against the background of his ever-changing social and familial context. The resulting analysis draws a picture of a painter who came from the artistic milieu of Antwerp, yet deliberately made different choices from those of his father, from whom the young Teniers received his initial training. In order to meet changing tastes and satisfy the demands of the market, and following the example of Adriaen Brouwer, Teniers quickly acquired a reputation as a painter of low-life genre scenes. Vlieghe goes on to clarify how Teniers rose to become court painter to the Habsburg governors in Brussels, and the means used by the artist to achieve greater social recognition, which included extensive self-representation and considerable conspicuous consumption. Teniers later years were marred by difficulties, brought on by his diminishing success as an artist and by financial difficulties with his children. Vlieghe shows how these circumstances led to Teniers dying in rather deplorable circumstances. Pictura Nova (PICT 16)
Portraits of Identified Sitters Painted in Antwerp,
Turnhout, Brepols, 1987 Hardback, 400 pages ., 242 ills., 180 x 265 mm.*NEW ISBN 9780905203577.
Prof. Vlieghe examines the specific stylistic evolution of Rubens as a portrait painter, and shows how clearly the portraits reflect the general development of the painter's style. This volume is the second in the series devoted to portraits and in this volume is confined to portraits painted in Antwerp, cataloguing those in which the sitters are identified. Dr. Vlieghe examines the specific stylistic evolution of Rubens as a portrait painter, and shows how clearly the portraits reflect the general development of the painter?s style. Of particular interest is the way in which Rubens merged the monumental sense of form and High-Renaissance devices that he had learnt in Italy with the traditions of style and iconography current in the Southern Netherlands. Especial emphasis is laid on the emblematic character of Rubens?s portraits, especially those of his own family. Languages: English.
Lieke van Deinsen, Bert Schepers, Marjan Sterckx, Hans Vlieghe, Bert Watteeuw (eds)
Reference : 65276
Campaspe Talks Back. Women Who Made a Difference in Early Modern Art
, Brepols, 2024 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: Painterly Collaborations between Juriaan Pool and Rachel Ruysch and a Newly Discovered Portrait of a Girl Martine van Elk, 'The Name Gives Lustre': Anna Maria van Schurman's Glass Engravings Bert Watteeuw and Klara Alen, Dealing with Helena Jeremy Wood, In the Shadow of the 'Proud Duke'? Elizabeth Percy, Duchess of Somerset (1667-1722), as Patron Lara Yeager-Crasselt, Painting Margherita: Louis Cousin and Flemish Portraiture in Seventeenth-Century Italy Leen Huet, Epilogue: Reading between the Lines, Reading between the Brushstrokes - Two letters Bibliography of Katlijne Van der Stighelen, Compiled by Lies De Strooper and Koen Brosens
Apollo op de zonnewagen. Een barok meesterwerk van Jan Boeckhorst (1604-1668). Phoebus Focus VIII
Antwerp, Phoebus Focus VIII, softcover, 21 x 14,8 cm, 88 pagina's, Nederlandstalige editie . ISBN 9789082829082.
In dit boek staat een voorstelling van Phoebus Apollo centraal, geschilderd door de barokke meester Jan Boeckhorst. Phoebus is de zonnegod naar wie The Phoebus Foundation is genoemd. Hij is de beschermer van de muzen en dus van de kunsten. Hij staat ook symbool voor het licht en de zon, en is intens verbonden met de ?gouden tijd?: een mythisch tijdperk vol eindeloze overvloed en rechtvaardigheid. In de reeks ?Phoebus Focus? gaan experts en wetenschappers in op topstukken uit de rijke collectie van kunststichting The Phoebus Foundation. Hans Vlieghe (°1939) studeerde kunstgeschiedenis aan de universiteit van Gent, waar hij ook enkele jaren werkzaam was als assistent. Hij promoveerde in 1967 over het oeuvre van de Antwerpse kunstschilder Gaspar De Crayer. Na diverse studie- en onderzoeksverblijven in München, Londen, Firenze en Rome ging hij als wetenschappelijk medewerker aan de slag in wat nu het Centrum Rubenianum heet. Daar is hij tevens lid van de raad van bestuur en werkt hij mee aan het Corpus Rubenianum Ludwig Burchard. Sinds 1990 is hij lid van de Koninklijke Vlaamse Academie van België voor Kunsten en Wetenschappen. Als hoogleraar was Vlieghe verbonden aan de universiteiten van Antwerpen en Leuven. Hij is gespecialiseerd in de Vlaamse schilderkunst van de zeventiende eeuw. Naast zijn onderzoek over De Crayer schreef hij tal van publicaties over (onder meer) Peter Paul Rubens en schilders uit diens entourage, over David II Teniers en Jan Boeckhorst. Sinds 2004 is hij met emeritaat, maar dat weerhoudt hem er niet van om kunsthistorisch onderzoek te blijven uitvoeren.
Concept, Design and Execution in Flemish Painting (1550-1700),
Turnhout, Brepols, 2000 Paperback, 296 p., ill., 210 x 297 mm. ISBN 9782503507316.
This publication on Flemish painting deals with those elements of the social and intellectual context which played a role in the realisation of any work of art, the concrete steps taken within a workshop in preparing for the production of the work, and the production through to completion of the draft. Part One,Concept, deals with those elements of the social and intellectual context which played a role in the realisation of any work of art. This section therefore examines individual motivations and the intellectual background of artists and their patrons, as also their institutional context and working conditions. Part Two,Design, examines the concrete steps taken within a workshop in preparing for the production of a work of art. These include the use of study materials, such as collections of exempla, as well as the stages of work required to make exploratory sketches, the finished draft and thence its transfer to the definitive medium to be used. Part Three,Execution, focuses on the production through to completion of the draft on its support medium. This may be done by the artist himself, or through one or other method of sharing the work, such as the employing of assistants or specialists. Introduction by Frans Baudouin. I. CONCEPT Carl Van de Velde, Status quaestionis; Elisabeth McGrath, Personifying new ideas: the influence of books and humanism on the invention of allegorical figures; Fiona Healy, The satus of mythological painting in sixteenth- and early seventeenth-century Flanders; Jeffrey Muller, The use of art by confraternities in the St.Jacob's church, Antwerp; Christine Van Mulders, Peter Paul Rubens en Jan Breughel I: de drijfveren van hun samenwerking. II. DESIGN Arnout Balis, Status quaestionis; Jeremy Wood, Rubens as thief; Gregory Martin, The preparatory work for the Banqueting Hall ceiling; Anne-Marie Logan, Consistency and change in Rubens's preliminary drawings; Nora De Poorter, Seriewerk en recyclage: doorgedreven efficientie in het geroutineerde bedrijf vanJacob Jordaens. III. EXECUTION Hans Vlieghe, Status quaestionis; Kathelijne Van der Stighelen, Van zelfbeeld tot ezel: kunstenaarsalaam op 16de- en 17de eeuwse (zelf)portretten; Konrad Renger. New book.
INISAN JEAN FRANCOIS- VLIEGHE ELISABETH- BOUGEARD
Reference : RO20265442
(1993)
ISBN : 2866232479
Apprendre le recit au college- Soudain le masque ouvrit les yeux - livre qui aide les enseignants a faire travailler et surtout, retravailler les recits de tous les eleves. Les auteurs ont eux aussi des eleves qui ne savaient pas qu'ils pouvaient ecrire..
C.R.D.P. LILLE. 1993. In-8. Broché. Bon état, Couv. convenable, Dos satisfaisant, Intérieur frais. 298 PAGES - quelques illustrations noir/blanc et couleur, dans et hors texte. . . . Classification Dewey : 370-Education
INISAN JEAN FRANCOIS- VLIEGHE ELISABETH- BOUGEARD PATRICK- CARPENTIER REGINE- FABE DENIS- ROELENS FABIENNE- SAILE MARIE PIERRE - 286623247X Classification Dewey : 370-Education
