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Peinture de la Renaissance --- Technique. --- Painting, Dutch --- Painting, Medieval --- Technique --- Painting --- painting techniques --- Medieval styles and periods --- technical art history --- anno 1400-1499 --- Netherlands: North --- Paintings, Medieval --- Dutch painting

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The neighborhood was a principal organizing structure of Dutch cities in the seventeenth century, and each had its own regulations, administrators, social networks, events, and diverse population of residents. Linda Stone-Ferrier argues that this sense of community contributed to the steady demand for pictures portraying aspects of this culture. These paintings, by such artists as Jan Steen and Pieter de Hooch, reinforced the role and values of the neighborhood. Through close readings of such works-by Steen and De Hooch and, among others, Gerrit Dou, Gabriel Metsu, Jacob van Ruisdael, and Johannes Vermeer-Stone-Ferrier deftly considers social history, urban studies, anthropology, and women's studies in this penetrating exploration. Her new interpretations of seventeenth-century Dutch painting across genres-scenes of streets, domesticity, professions, and festivity-challenge existing paradigms in Dutch art history.

Iconography --- Environmental planning --- Painting --- History of civilization --- genre [visual works] --- neighborhoods --- anno 1600-1699 --- Netherlands --- History of the Low Countries --- Painting, Dutch --- Communities in art --- Neighborhoods in art --- History and criticism --- Community in art --- Dutch painting --- Communities in art. --- Neighborhoods in art. --- History and criticism. --- genre pictures --- easel paintings [paintings by form] --- cultuurgeschiedenis

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"As the first public museum in the United States to purchase a painting by Vincent van Gogh, the Detroit Institute of Arts is celebrating its historic accomplishment with a groundbreaking exploration of the introduction and early reception in America of the iconic artist's work. The painting in question is Self-Portrait, produced in Paris during the summer of 1887-with a light palette initially informed by Impressionist works-and acquired by the museum in 1922. To contextualize his work, Van Gogh in America brings together approximately 60 of Van Gogh's paintings, drawings, and prints from collections around the world. Essays by leading Van Gogh scholars from the Van Gogh Museum in the Netherlands and The Metropolitan Museum of Art chronicle the considerable efforts made by early promoters of modernism in the United States, including dealers, collectors, private art organizations, public institutions, and the Van Gogh family, to frame the artist's biography and introduce his artistic production into the American consciousness"--

Gogh, Vincent van, --- Painting --- private collections --- easel paintings [paintings by form] --- collectors --- Art: persons --- Gogh, van, Vincent --- United States --- Art --- Painting, Dutch --- Collectors and collecting --- Gogh family --- Fan-kao, --- Fan-ku, --- Fan'gao, --- Fangu, --- Fangu, Wensheng, --- Gogh, Vincent-Willem van, --- Van-Gog, Vint︠s︡ent, --- Van Gogh, Vincent --- גוך, וינסנט ואן, --- ビンセントゴッホ, --- ゴッホ, --- 梵高, --- Themes, motives. --- History. --- Painting, Modern --- Dutch painting --- Art, Occidental --- Art, Primitive --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- tentoonstellingen. --- Van Gogh, Vincent. --- Van Gogh, Vincent Willem. --- Kröller-Müller, Hélène. --- Verenigde Staten. --- private collections [object groupings] --- United States of America --- tentoonstellingen --- Van Gogh, Vincent Willem --- Kröller-Müller, Hélène --- Verenigde Staten