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Rubens, Peter Paul, --- Rubens, Peter Paul --- Painting, Flemish --- Peinture flamande --- Criticism and interpretation --- Rubens, Petrus Paulus, --- Rubens, Peter Paul, - 1577-1640 - Criticism and interpretation --- Rubens, Petrus Paulus, - 1577-1640 --- Rubens, Peter Paul. --- Rubens, Peter Paul, - 1577-1640
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"Presents information about Peter Paul Rubens and his Triumph of the Eucharist series, consisting of modelli (oil paintings on panel) and monumental tapestries. Essays discuss the history and the recent restoration of the panels and tapestries"--
tapestries --- Conservation. Restoration --- Triumph of the Eucharist [cycle] --- Applied arts. Arts and crafts --- Rubens, Peter Paul --- Painters --- Painting --- Painting, Baroque --- Peintres --- Peinture --- Peinture baroque --- Conservation and restoration --- Conservation et restauration --- Rubens, Peter Paul, --- Criticism and interpretation. --- Criticism and interpretation --- Rubens, Peter Paul, - 1577-1640. - Triumph of the Eucharist - Exhibitions --- Rubens, Peter Paul, - 1577-1640 - Criticism and interpretation --- Rubens, Peter Paul, - 1577-1640. - Triumph of the Eucharist --- Rubens, Peter Paul, - 1577-1640
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Art --- Rubens, Peter Paul --- Rubens, Peter Paul, --- Exposition --- Lille --- Peintres --- Peinture --- Rubens, Pierre Paul --- Rubens, --- Rubens, P. P. --- Rubens, Pierre-Paul, --- Rubens, Pieter Paul, --- Rubens, Pieter-Pauwel, --- Rubens, Pietro Paolo, --- רובנס, פטר פאול, --- Rubens, Pieter Paul --- Rubens --- Rubens, Pierre-Paul --- Rubens, Pieter-Pauwel --- Rubens, Pietro Paolo --- Exhibitions --- Rubens, Peter Paul, - 1577-1640 - Exhibitions --- Rubens, Peter Paul. --- Rubens, Peter Paul, - 1577-1640
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Painting landscapes was very much a private activity for Peter Paul Rubens. Whilst the majority of his other works were commissioned, the landscapes seem to have been painted for his own pleasure and delight and stayed in the artist’ s possession until his death. Most of them were painted in the last decade of his life; a happy period, in which Rubens retired from public duties and spent most of his free time studying the antique and enjoying sojourns on his country estate, castle Het Steen.0To grasp this profoundly personal character of Rubens’ s landscapes, this book considers the artist’ s highly complex method of pictorial invention to illuminate the perception, implementation, dissemination, and posthumous reception of views on nature and landscape as depicted in Rubens’ s landscape art.
Nature --- landscapes [representations] --- Rubens, Peter Paul --- Painters --- Landscape painting, Flemish --- Landscape prints, Flemish --- Peintres --- Peinture de paysages flamande --- Estampe de paysages flamande --- Attitudes --- Rubens, Peter Paul, --- Painting, Flemish --- Landscape prints, Dutch --- Nature in art. --- Nature (Aesthetics) --- Landscapes in art. --- History --- Criticism and interpretation. --- Themes, motives. --- Nature in art --- Landscapes in art --- Criticism and interpretation --- Themes, motives --- Painting, Flemish - 17th century --- Landscape painting, Flemish - 17th century --- Landscape prints, Dutch - 17th century --- Nature (Aesthetics) - History - 17th century --- Rubens, Peter Paul, - 1577-1640 - Criticism and interpretation --- Rubens, Peter Paul, - 1577-1640 - Themes, motives --- Rubens, Peter Paul, - 1577-1640
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Rubens, Peter Paul, --- Rubens, Peter Paul --- Vlieghe, Hans --- 17de eeuw --- Art, Flemish --- Painting, Flemish --- Art flamand --- Peinture flamande --- Vlieghe, Hans. --- Rubens, Peter Paul. --- 17de eeuw. --- Art, Baroque --- Rubens, Peter Paul, 1577-1640
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This book is the first comprehensive investigation of the most paradigmatic aspect of Baroque visual culture: the Rubensian nude.00Did contemporary audiences recognise the sensuously painted ?Rubensian body? as a particular, if not peculiar, artistic repertoire? How can we best understand seventeenth-century practises of reading and viewing the Rubensian body? Can our criteria for eroticism be linked with that of Rubens? Was the body a ?fluid? category for Rubens and where does the boundary of the human body lie? It is hoped that these investigative questions will lead to a detailed evaluation about the paradigmatic status of the Rubensian body and whether we are justified in stressing its singularity within seventeenth-century Flemish and the broader early modern European visual culture.
painting [image-making] --- iconography --- Rubens, Peter Paul --- techniques [processes] --- Painting, Flemish --- Drawing, Flemish --- Human figure in art --- Rubens, Peter Paul, --- painting techniques --- schildertechnieken --- schilderen [kunst] --- iconografie --- schilderijen --- naakten --- easel paintings [paintings by form] --- nudes [representations] --- Painting --- Body image in art --- 17th century --- Criticism and interpretation --- Human figure in art - 17th century --- Body image in art - 17th century --- Rubens, Peter Paul, - 1577-1640 - Criticism and interpretation --- lichaam (van de mens) --- Rubens, Peter Paul, - 1577-1640
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Art --- Festschriften --- Rubens, Peter Paul --- Baudouin, Frans --- Huldeboeken --- Mélanges --- Rubens, Pierre Paul --- Painters --- Peintres --- Biography. --- Biographies --- Rubens, Peter Paul, --- Baudouin, Frans. --- Friends and associates. --- Rubenshuis (Antwerp, Belgium) --- Galileo --- Rockox, Nicolaas --- Merian, Matthäus (de oudere) --- Criticism and interpretation --- Influence --- 75 RUBENS, PIETER-PAUL --- Schilderkunst--RUBENS, PIETER-PAUL --- 75 RUBENS, PIETER-PAUL Schilderkunst--RUBENS, PIETER-PAUL --- Rubens, --- Rubens, P. P. --- Rubens, Pierre-Paul, --- Rubens, Pieter Paul, --- Rubens, Pieter-Pauwel, --- Rubens, Pietro Paolo, --- רובנס, פטר פאול, --- Criticism and interpretation. --- Influence. --- Rubens, Pieter Paul --- Rubens --- Rubens, Pierre-Paul --- Rubens, Pieter-Pauwel --- Rubens, Pietro Paolo --- Merian, Matthäus I --- Rubens, Peter Paul, - 1577-1640 - Criticism and interpretation --- Rubens, Peter Paul, - 1577-1640 - Influence --- Rubens, Peter Paul. --- Galileo. --- Rockox, Nicolaas. --- Merian, Matthäus I. --- Rubens, Peter Paul, - 1577-1640
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Drawing --- Rubens, Peter Paul --- Musée du Louvre --- Drawing, Flemish --- Drawing, Belgian --- Dessin flamand --- Dessin belge --- Exhibitions --- Expositions --- Rubens, Peter Paul, --- 741.9493 --- Flemish drawing --- Arts Drawings Belgium --- Rubens, Peter Paul Sir --- Rubens, --- Rubens, P. P. --- Rubens, Pierre-Paul, --- Rubens, Pieter Paul, --- Rubens, Pieter-Pauwel, --- Rubens, Pietro Paolo, --- רובנס, פטר פאול, --- Rubens, Pieter Paul --- Rubens --- Rubens, Pierre-Paul --- Rubens, Pieter-Pauwel --- Rubens, Pietro Paolo --- Exhibitions. --- Drawing, Flemish - 16th century - Exhibitions --- Drawing, Flemish - 17th century - Exhibitions --- Rubens, Peter Paul, - 1577-1640 - Exhibitions --- tekenkunst, Nederlanden --- Vlaamse school --- Rubens, Peter Paul, - 1577-1640
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How Rubens obtained the commission is a tale of international politics and diplomacy in which the artist himself played a significant role. The author relates these complex political relationships and missions with great insight and clarity, and in doing so also describes the cultural and social setting in which Rubens found himself while in London. The Flemish artist Peter Paul Rubens is probably the most important foreign artist to have worked in England. The story of how this came to be, of what he did and whom he met when he was there, and what he painted for King Charles I is the story of this book. Charles and his father, the first Stuart monarchs of Great Britain, led and promoted a great wave of interest in the arts, in particular the visual arts that culminated in Rubens painting nine large canvases to decorate the ceiling of Inigo Jones's Banqueting Hall, the ceremonial centre of the Court in Whitehall, a monument that is still in tact today. It is this cycle, an hitherto unappreciated masterpiece of Baroque state art, that is the focus of this book. The illustrations that accompany the text include not only many of Rubens's own paintings and drawings made when he was in London, but also some of the now well-known works by the Italian and North European Renaissance masters that Rubens would have seen in the magnificent art collections of the King and the English aristocracy. Foremost however among the illustrations are the reproductions of the Banqueting Hall ceiling itself: these are mostly in colour, showing each of the three central scenes both complete and with striking details that would be difficult to see in the Hall itself. Also the corner oval paintings as well as the long, celebratory, exuberant processions on either side are reproduced in colour and in detail, so that the reader, guided by the author's full descriptions and interpretations, can experience a unique viewing and understanding of Rubens's masterpiece. --Book Jacket.
Londen, Whitehall, Banqueting House --- diplomacy --- James I [Great Britain] --- Rubens, Peter Paul --- London --- Painting, Flemish --- Peinture flamande --- Rubens, Peter Paul, --- Banqueting House (London, England) --- Great Britain --- Grande-Bretagne --- Intellectual life --- Vie intellectuelle --- diplomaat --- geschiedenis --- politiek --- barok --- Banqueting House (Londen) --- Whitehall Palace (Londen) --- verzamelaars --- Charles I (Koning van Engeland) --- 16de eeuw --- 17de eeuw --- Londen --- Mural painting and decoration --- Ceilings, Painted --- Fresco painting --- Murals --- Painted ceilings --- Painting, Decorative --- Wall decoration --- Wall-painting --- Art --- Decoration and ornament --- Interior decoration --- Painting --- Charles --- Stuart, Charles, --- Rubens, Peter Paul, Sir, --- Rubens, --- Rubens, P. P. --- Rubens, Pierre-Paul, --- Rubens, Pieter Paul, --- Rubens, Pieter-Pauwel, --- Rubens, Pietro Paolo, --- רובנס, פטר פאול, --- Criticism and interpretation. --- Art patronage. --- Charles Ier, roi d'Angleterre --- Rubens, Pieter Paul --- Rubens --- Rubens, Pierre-Paul --- Rubens, Pieter-Pauwel --- Rubens, Pietro Paolo --- Criticism and interpretation --- Charles I --- Art patronage --- England --- London (England) --- 17th century --- Frescoes --- Frescos --- diplomatie --- Art and state --- Art and society --- History --- Rubens, Petrus Paulus, --- Travel --- Art and state - Great Britain - History - 17th century --- Art and society - England - London - History - 16th Century --- Mural painting and decoration - England - London --- Rubens, Peter Paul, - 1577-1640 - Criticism and interpretation --- Rubens, Peter Paul, - 1577-1640 - Travel - London --- Rubens, Peter Paul, - 1577-1640. - Apotheosis of James I --- Charles - I, - King of England, - 1600-1649 - Art patronage --- Rubens, Petrus Paulus, - 1577-1640 --- Great Britain - Intellectual life - 17th century --- diplomatie. --- geschiedenis. --- politiek. --- barok. --- Banqueting House (Londen). --- Whitehall Palace (Londen). --- verzamelaars. --- Charles I (Koning van Engeland). --- 16de eeuw. --- 17de eeuw. --- Londen. --- Rubens, Peter Paul, - 1577-1640 --- Charles - I, - King of England, - 1600-1649
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One hundred breathtaking masterpieces from the collection of The Phoebus Foundation, by Hans Memling, Quinten Metsys, Peter Paul Rubens and Antoon Van Dyck, will take the reader through a world full of foolishness and sin, fascination and ambition. They tell about rich citizens and poor saints, about artists and wine cellars, and about Antwerp as Hollywood on the Scheldt.0This book is a compelling story about the image and its meaning, and about the bond between culture and society. Because above all this is about us and who we are today - as people.00Exhibition: Kadriorg Art Museum, Tallinn, Estonia (11.04.-13.09.2020) / followed by MAS, Antwerp, Belgium.
Painting [Flemish ] --- Exhibitions --- Iconography --- Painting --- Phoebus Foundation [Antwerp] --- anno 1400-1499 --- anno 1500-1599 --- anno 1600-1699 --- Flanders --- iconography --- easel paintings [paintings by form] --- Painting, Flemish --- Peinture flamande --- Painting, Flemish. --- Memling, Hans, --- Rubens, Peter Paul, --- 1400-1699 --- Vlaamse school --- beeldcultuur --- Memling, Hans, 1430?-1494 --- Rubens, Peter Paul, 1577-1640
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