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Painting --- anno 1700-1799 --- France --- Painting, French --- Peinture française --- Exhibitions. --- Expositions --- Pompadour, Jeanne Antoinette Poisson, --- Art patronage --- Civilization --- Civilisation --- schilderkunst --- muziek --- hofkunst --- geschiedenis --- mecenaat --- Pompadour (Madame de) --- Marigny (Markies van) --- Destouches, André-Cardinal --- Cardonne, Jean-Baptiste --- 18de eeuw --- Frankrijk --- Peinture française --- schilderkunst. --- muziek. --- hofkunst. --- geschiedenis. --- mecenaat. --- Pompadour (Madame de). --- Marigny (Markies van). --- Destouches, André-Cardinal. --- Cardonne, Jean-Baptiste. --- 18de eeuw. --- Frankrijk.

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This book investigates the aesthetic and conceptual characteristics of fifteenth-century female portraiture on panel. Portraits of women increased substantially during this century. They formed part of a material and a visual culture borne out of the rapid rise of an oligarchy from entrepreneurial activities that was especially advanced in the urbanised territories of Italy and Flanders. For this reason, the portraits in this book are by Netherlandish and Italian painters. They are simultaneously illustrative of the emancipation of the genre from its medieval idiom, and of the responses to the matrix of patriarchy, under which society was organised.

Patriarchy is an androcentric structure that places women in a paradoxical situation of legal and social disenfranchisement on the account of purported psychophysical inadequacy, whilst making them the catalysts, through arranged marriages, for the success of the spheres of power, which are controlled by men. Thus, these portraits are also a window into women's lives in this structure. This book is the first systematic study of their sign-system and of the feminine experience of seeing and being seen, at the intersection of disciplines that include art history, anthropology, legal history, philosophy. The surprising results suggest new interpretations of form and function in female portraiture, women's active role in the imaging process and the early instances of a pro-women ideology.

Women in art. --- Portrait painting, Italian --- Portrait painting, Dutch --- Women --- Human females --- Wimmin --- Woman --- Womon --- Womyn --- Females --- Human beings --- Femininity --- Dutch portrait painting --- Italian portrait painting --- Portraits. --- Portraiture, Women, Netherlandish, Italian, Querelle de Femme, Patriarchy. --- Sociology of the family. Sociology of sexuality --- Painting --- History of civilization --- History of Italy --- History of the Low Countries --- portraits --- women [female humans] --- anno 1400-1499 --- Portrait painting --- Painting, Netherlandish --- Painting, Italian --- Femmes --- Femmes. --- Portraits (peinture) --- Peinture néerlandaise --- Peinture --- in art --- Themes, motives. --- Dans l'art --- Thèmes, motifs. --- Women in art --- Painting, Dutch --- Women. --- History --- Social conditions --- Social conditions. --- To 1500 --- Italy. --- Netherlands. --- Portraits --- Italiaanse school --- Nederlandse school --- Portraits, Dutch --- Portraits, Italian

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Christian spirituality --- Iconography --- Painting --- religious experience --- schilderkunst, Nederlanden --- portraits --- anno 1400-1499 --- anno 1500-1599 --- Netherlands --- Flanders --- Peinture de portraits --- Dévotion --- Art --- Art chrétien --- Moyen âge, 476-1492 --- Renaissance --- Portrait painting, Netherlandish --- Devotion in art --- Christian art and symbolism --- Pays-Bas

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Goes, van der, Hugo --- Painters --- Painting, Flemish --- Altarpieces, Flemish --- Peintres --- Peinture flamande --- Retables flamands --- Biography --- Biographies --- Goes, Hugo van der, --- Criticism and interpretation. --- techniek --- Geloof --- altaarstukken --- Portinari triptiek --- Goes, Hugo van der --- Fra Angelico --- Portinari, Tommaso --- Wauters, Alphonse --- Destrée, Joseph --- Panofsky, Erwin --- Pächt, Otto --- -75:726.593 --- 75 VAN DER GOES, HUGO --- 247.2 --- 247.2 Altaar. Tabernakel. Retabel. Ambon --- Altaar. Tabernakel. Retabel. Ambon --- 75 VAN DER GOES, HUGO Schilderkunst--VAN DER GOES, HUGO --- Schilderkunst--VAN DER GOES, HUGO --- 75:726.593 Geschilderde altaarstukken. Retabels. Diptieken. Triptieken --- Geschilderde altaarstukken. Retabels. Diptieken. Triptieken --- Flemish altarpieces --- Flemish painting --- Van der Goes, Hugo, --- Van der Goes, Hugo (14..-1482) --- 75:726.593 --- Van der Goes, Hug, --- van der Goes, Hugo --- Van der Goes, Hugo --- techniek. --- Geloof. --- altaarstukken. --- Portinari triptiek. --- van der Goes, Hugo. --- Fra Angelico. --- Portinari, Tommaso. --- Wauters, Alphonse. --- Destrée, Joseph. --- Panofsky, Erwin. --- Pächt, Otto.

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Giles Knox examines how El Greco, Velaìzquez, and Rembrandt, though a disparate group of artists, were connected by a new self-consciousness with respect to artistic tradition. In particular, Knox considers the relationship of these artists to the art of Renaissance Italy, and sets aside nationalist art histories in order to see the period as one of fruitful exchange. Across Europe during the seventeenth century, artists read Italian-inspired writings on art and these texts informed how they contemplated their practice. Knox demonstrates how these three artists engaged dynamically with these writings, incorporating or rejecting the theoretical premises to which they were exposed. Additionally, this study significantly expands our understanding of how paintings can activate the sense of touch. Knox discusses how Velaìzquez and Rembrandt, though in quite different ways, sought to conjure for viewers thoughts about touching that resonated directly with the subject matter they depicted.

Aesthetics of art --- Painting --- painting [image-making] --- Velázquez, da Silva y, Diego --- Greco, el --- Rembrandt --- Italy --- Toucher --- Touch --- Sens et sensations --- Senses and sensation in art. --- Peinture --- Dans l'art. --- In art. --- Influence. --- Greco, Le --- Greco, --- Velázquez, Diego --- Velázquez, Diego, --- Rembrandt Harmenszoon van Rijn, --- Thèmes, motifs. --- Themes, motives. --- Painting, Renaissance --- Italian influences. --- Rāmbirānt, --- Rembrandt Garmens van Reĭn, --- Rembrandt van Rijn --- Rembrandt van Reĭn, --- Lun-po-lang, --- Rembrandt, --- Van Rijn, Rembrandt Harmenszoon, --- Rijn, Rembrandt Harmenszoon van, --- Rembrandt Harmensz van Rijn, --- Reimbrandt, --- Rembrandt van Rijn, --- רמברנדט --- רמברנדט הרמנסזון ואן־ריין, --- رامبرانت --- Theotocopuli, Dominico, --- Theotokopoulos, Domenikos, --- Theocopuli, Domenico, --- Theotocopuli, Domenico, --- Zeotokopoulos, Doménikos, --- Theotocópuli, Domingo, --- Theotocópoulos, Doménicos, --- Theoscopoli, Domenico, --- Greco, Domenico, --- Griego, --- El Greco, --- Greco, Dominico, --- Ο Γκρεκο, --- Criticism and interpretation. --- El Greco, Velázquez, Rembrandt. --- Theotocopuli, Dominico --- Theotokopoulos, Domenikos --- Theocopuli, Domenico --- Theotocopuli, Domenico --- Zeotokopoulos, Doméniko, --- Theotocópuli, Domingo --- Theotocópoulos, Doménicos --- Theoscopoli, Domenico --- Greco, Domenico --- Griego --- El Greco --- Greco, Dominico --- Ο Γκρεκο --- Rembrandt Harmenszoon van Rijn --- Rembrandt Garmens van Reĭn --- Rembrandt van Reĭ --- Lun-po-lan --- Van Rijn, Rembrandt Harmenszoon --- Rijn, Rembrandt Harmenszoon van --- Rembrandt Harmensz van Rin, --- Reimbrand --- invloed van Italiaanse school