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portraits --- Pomona [Mythological character] --- Ceres [Mythological character] --- Rubens, Peter Paul

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Still Life painting thematizes the ability of Nature and Art to produce similarities and is therefore predestined for a theorization of mimetic strcutures of Art in general. 17th-Century Netherlandish Still Life painting actively participated in the intellectual discourse of natural philosophy and the natural sciences, even though art history until recently described it, somewhat simplifying, as realistic-representative painting. We urgently need a rehabilitation of the notion of Mimesis. The author restarts the discussion, by putting more emphasis on the historical notions of Nature and Image. She examines how mimetic structures acquired a biotic reproductive capacity in the 17th century. Still Life painting thematizes the ability of Nature and Art to produce similarities and is therefore predestined for a theorization of mimetic structures of Art in general.

Painting --- easel paintings [paintings by form] --- flower pieces --- still lifes --- anno 1600-1699 --- 75.035 --- 75.035 Neostijlen. Herleving van oude stijlen in de 19e eeuw. Historicisme in de schilderkunst --- Neostijlen. Herleving van oude stijlen in de 19e eeuw. Historicisme in de schilderkunst --- Still-life in art. --- Still-life painting, Dutch --- Nature in art --- History --- Painting - 17th century --- Iconography, Symbolism & representation in art and architecture --- Theory of Art --- Baroque & Rococo painting

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Throughout the Middle Ages, John the Evangelist, identified as the author of both the Book of Revelation and the most profound and theologically informed of the four Gospels, provided monks and nuns with a figure of inspiration and an exemplar of vision and virginity. Rather than the historical apostle, this book's protagonist is a persona of the Evangelist established in theology, the liturgy, and devotional practice: the model mystic, who, by virtue of his penetrating insight, was seen as having become a mirror image of Christ. In 'St. John the Divine, 'Jeffrey Hamburger identifies a remarkable set of images from the ninth to the fifteenth centuries that identify the inspired Evangelist so closely with the deity that he appears as his living image and embodiment. Hamburger explores the ways these representations of St. John in the guise of Christ elucidate the significance of images as such in medieval theology and mysticism. Above all, he shows how these artworks, presented together for the first time, epitomize the relationship between the visible and the invisible: between ideas, however abstract, and the concrete images that medieval Christians confronted face-to-face.

Christian theology --- Iconography --- John [Evangelist] --- anno 500-1499 --- Europe --- Christian art and symbolism --- Art et symbolisme chrétiens --- John, --- 226.5 --- -Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Religious art, Christian --- Sacred art --- Symbolism and Christian art --- Art --- Symbolism --- Christian antiquities --- Church decoration and ornament --- Evangelie volgens Johannes --- John the Apostle, Saint --- -Evangelie volgens Johannes --- Art et symbolisme chrétiens --- Giovanni, --- Hovhannēs, --- Ioann, --- Jan, --- Jean, --- Jehan, --- Johannes, --- Yūḥannā, --- Beloved Disciple --- John --- Medieval, 500-1500 --- Middle Ages, 500-1500

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Museums might be regarded as a growth industry, but museums large and small are facing the need for more sophisticated shows subject to strict budgetary control. In the process, designs of individual exhibitions have to be matched closely with the ideas of the subject experts, the museum curators. Margaret Hall's experience as Head of Design at the British Museum has convinced her that interpretation and design are twin facets of a single process. In the introduction to this book she considers the history, philosophy and strategy of exhibition design for museums but the core of the volume is a grammar of exhibition design for use by the museum professional and all those engaged in mounting cultural display sand exhibitions. It offers a topic by topic examination of over thirty types of material that might need to be exhibited - ranging from armor and jewelry to paintings and sculpture. A mixture of narrative, tabular and checklist information, diagrams and illustrations presents the salient facts about each type of display - principles, materials, lighting, labeling, conservation considerations, practical advice, what to avoid, etc. In his Foreword to this reference manual, Sir David Wilson, Director of the British Museum, observes that the author's experience of more than twenty years' work in the museum world is distilled in this book which will become essential reading for all who work in museums - whether they be curators, designers or administrators.

Museology --- museum administration --- Museum exhibits --- Display techniques --- Displays, Museum --- Museum displays --- Museums --- Exhibitions --- Museum techniques --- Tentoonstellingen ; vormgeven ; ontwerpen --- Techniek van het tentoonstellen --- Museologie ; conservatie --- Museologie ; museumpresentatie --- 069.4 --- Museologie ; werkwijzen mbt het opzetten van tentoonstellingen