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Innovatively and provocatively, Rembrandt turned the art world upside down in the Golden Age. His poignant works and his life story continue to inspire and move the world 350 years after his death. The largest and most spectacular collection of his paintings, prints and drawings in the world is curated by the Rijksmuseum. In 2019, the museum honours Rembrandt with the exhibition 'Alle Rembrandts'. Never before has the Rijksmuseum presented an exhibition of all of Rembrandt's works from the collection: a one-off exhibition of no less than 400 Rembrandts. Together they paint an unparalleled picture of Rembrandt as a human being, as an artist, as a storyteller and innovator. Jonathan Bikker, research curator at the Rijksmuseum, describes the highs and lows of Rembrandt's life in an accessible way, opening up the genius of Rembrandt's character and the innovative qualities of his work to the general public.

biografieën --- Rembrandt --- 20.70 European art. --- Rembrandt Harmenszoon van Rijn, --- biographies [documents] --- Painters --- Painting, Dutch --- Drawing, Dutch --- Prints, Dutch --- Biography --- Biographies. --- Rijksmuseum (Amsterdam, Pays-Bas). --- biographies [literary works]

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The end of the eighteenth century saw the start of a new craze in Europe: tiny portraits of single eyes worn as brooches or pendants that were exchanged as tokens of affection by lovers or family members. Growing out of the cult of sentimentality, the vogue for eye portraits was short-lived, and by the early 1800s eye miniat.ures had faded into oblivion. Unearthing these trinkets in *Treasuring the Gaze*, Hanneke Grootenboer proposes that the rage for eye portraits-and their abrupt disappearance-reveals a knot in the unfolding of the history of vision that has vanished from our view.

Drawing on Alois Riegl, Jean-Luc Nancy, Gaston Bachelard, Melanie Klein, and others, Grootenboer unravels this knot, discovering patterns of looking and strategies for showing that have remained unseen. By looking back at their viewers, eye protraits articulate the operation of our gaze not as a mere reflection of what we see or how we see it, but by producing us, as viewing subjects, against the spectacle of the world. Always returning the looks they receive, eye portraits create a reciprocal mode of viewing that Grootenboer calls intimate vision. Weaving in stories about eye miniatures -including the role one played in the scandalous affair of Mrs. Fitzherbert and the Prince of Wales, a portrait of Lord Byron's mesmerizing gaze, and the loss and longing incorporated in eye miniatures that cry-Grootenboer shows that intimate vision brings the gaze of another deep into the heart of private experience.
With a host of fascinating imagery from this eccentric and mostly forgotten yet deeply private keepsake, *Treasuring the Gaze* questions the traditional subject-object relationship in art by ultimately showing how painting is meant to see as much as be seen.

miniatures [paintings] --- Painting --- eyes [animal components] --- portraits --- observation --- anno 1700-1799 --- MAD-faculty 20 --- kunst en cultuur --- kunst 18e eeuw --- portretten --- Applied arts. Arts and crafts --- jewelry --- eye portraits

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"The Surviving Image, originally published in French in 2002, is the result of Georges Didi-Huberman's extensive research into the life and work of foundational art historian Aby Warburg. Warburg envisioned an art history that engaged with anthropology, psychoanalysis, and philosophy in order to understand the "life" of images. Drawing on a wide range of Warburg's unpublished letters and diaries, Didi-Huberman demonstrates unequivocally the complexity and importance of Warburg's ideas and the ways in which his legacy was both distorted and diffused as art history became a "humanistic" discipline. The Surviving Image takes Warburg as its main subject but also addresses broader questions regarding art historians' conceptions of time, memory, and symbols and the relationship between art and the rational and irrational forces of the psyche."--Publisher's description. Demonstrates the complexity and importance of Warburg's ideas, addressing broader questions regarding art historians' conceptions of time, memory, symbols, and the relationship between art and the rational and irrational forces of the psyche. --Provided by publisher.

Philosophy and psychology of culture --- art theory --- Aesthetics of art --- Warburg, Aby --- 20.01 history of the art sciences. --- Art --- Historiography. --- Philosophy. --- Warburg, Aby, --- 7.01 --- Kunstgeschiedenis; Aby Warburg (1877-1929) --- Beautiful, The --- Beauty --- Aesthetics --- Art and philosophy --- Historiography --- Philosophy --- Kunst ; theorie, filosofie, esthetica --- Analysis, interpretation, appreciation --- Warburg, Aby Moritz,

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Art --- Art. --- 20.12 art museums. --- 20.00 art sciences: general. --- Art, Daghestan --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Germany. --- Alemania --- Ashkenaz --- BRD --- Bu̇gd Naĭramdakh German Uls --- Bundesrepublik Deutschland --- Deutsches Reich --- Deutschland --- Doitsu --- Doitsu Renpō Kyōwakoku --- Federal Republic of Germany --- Federalʹna Respublika Nimechchyny --- FRN --- German Uls --- Germania --- Germanii͡ --- Germanyah --- Gjermani --- Grossdeutsches Reich --- Jirmānīya --- KhBNGU --- Kholboony Bu̇gd Naĭramdakh German Uls --- Nimechchyna --- Repoblika Federalin'i Alemana --- República de Alemania --- República Federal de Alemania --- Republika Federal Alemmana --- Vācij --- Veĭmarskai͡a Respublika --- Weimar Republic --- Weimarer Republik --- Germany (East) --- Germany (West) --- Europe --- Arts and Humanities --- Performing Arts, Travel and Leisure

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"In the early seventeenth century there was eager interest, among the leisured classes, in fruits from the Mediterranean and beyond, not least for the kitchen gardens and orchards of England's grand houses. The volume of charming, vibrant, almost primitive watercolour paintings of orchard fruits on the branch, popularly known as 'Tradescants' Orchard', is a precious and fragile relic of this era of broadening horticultural horizons. This manuscript, traditionally associated with the renowned plantsmen, the John Tradescants, was among the eclectic collections of Elias Ashmole which, after his death in 1692, formed the basis of the Ashmolean Museum in Oxford. Then, in 1860 it was transferred to the Bodleian Library. It has been quietly recognized as a mysterious treasure, yet the paintings raise many unanswered questions. Who painted them, and for whom? What was their purpose? Only one apple is represented - were there once others, now missing? Whose handwriting appears in the manuscript? Why did the artist paint wildlife such as birds, frogs and butterflies on many of the folios? All sixty-six of the original illustrations are reproduced here in facsimile for the first time, following a general introduction which maps out the mystery of why and how these beguiling watercolours came to be commissioned and made."--Publisher's description.

Plant husbandry --- Painting --- botanical gardens --- fruit [plant components] --- gardeners --- Bodleian Library [Oxford] --- Botany --- Botanical illustration --- 76.043 --- Botanical science --- Phytobiology --- Phytography --- Phytology --- Plant biology --- Plant science --- Biology --- Natural history --- Plants --- Botanical drawing --- Flower painting and illustration --- Fruit painting and illustration --- Illustration, Botanical --- Biological illustration --- Natural history illustration --- 76.043 Iconografie: flora in de prentkunst --- Iconografie: flora in de prentkunst --- History --- Tradescant, John, --- MAD-faculty 20 --- kunst en cultuur --- illustratie --- kunst 17e eeuw --- Floristic botany --- fruit --- tuingeschiedenis