Rubens Portraits of Identified Sitters Painted in Antwerp, Том 2Harvey Miller, 1987 - Всего страниц: 400 This volume is the second in the series devoted to portraits and in this volume is confined to portraits painted in Antwerp, cataloguing those in which the sitters are identified. Dr. Vlieghe examines the specific stylistic evolution of Rubens as a portrait painter, and shows how clearly the portraits reflect the general development of the painter's style. Of particular interest is the way in which Rubens merged the monumental sense of form and High-Renaissance devices that he had learnt in Italy with the traditions of style and iconography current in the Southern Netherlands. Especial emphasis is laid on the emblematic character of Rubens's portraits, especially those of his own family. |
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Albert Albertina Albrecht en Isabella Alte Pinakothek Ambrogio Spinola Amsterdam Antwerp Archduke of Austria Arundel Beaux-Arts bens bens's Berlin Brussels Burchard Burlington Magazine Cardinal Infante Catalogue Raisonné copy costume Crayer Denucé Dessins Detroit drawing Duke Dyck engraving EXHIBITED Flemish Flemish Paintings Florence Gaspar de Crayer Gevartius Goris-Held hand Held Hélène Fourment Huemer inventory Isabella Brant Jaffé Konstkamers Kunst Kunsthistorisches Museum Leganés Liedtke LITERATURE London Christie's Louvre Madrid Maeyer Müller Hofstede Munich Musée National Gallery Nicolaas Nicolas Trigault Oil on canvas Oil on panel Oil Sketches Ophovius painting Paris Peter Paul Rubens picture pose Prado Prince PROV PROVENANCE purchased Puyvelde red chalk repr reprinted in Glück Rooses Rooses-Ruelens Rosenberg Rotterdam Royal Rubens's Rubens's portrait Seilern Self-Portraits sitter Smith spectator Spinola style Suzanna Fourment three-quarter view Titian trait Trigault Vienna Vlieghe wears werp whereabouts unknown York