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Honoring the genius of Rembrandt, the author first explores the painter's obsession with Flemish master Peter Paul Rubens--a fixation that profoundly influenced the evolution of his work and was not overcome until Rubens's death. 75,000 first pirnting.Nota de la solapa:
t as for Shakespeare, all the world was indeed a stage, and he knew in exhaustive detail the tactics of its performance: the strutting and mincing; the wardrobe and the face paint; the full repertoire of gesture and grimace; the flutter of hands and the roll of the eyes; the belly laugh and the half-stifled sob. He knew what it looked like to seduce, to intimidate, to wheedle, and to console; to strike a pose or preach a sermon; to shake a fist or uncover a breast; how to sin and how to atone; how to commit murder and how to commit suicide. No artist had ever been so fascinated by the fashioning of personae, beginning with his own. No painter ever looked with such unsparing intelligence or such bottomless compassion at our entrances and our exits and the whole rowdy show in between.
More than three centuries after his death, Rembrandt remains the most deeply loved of all the great masters of painting, his face so familiar to us from the self-portraits painted at every stage in his life, y
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Descripción Knopf, 1999. Condición: New. book. Nº de ref. del artículo: M067940256X
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Descripción Knopf, 1999. Hardcover. Condición: New. Nº de ref. del artículo: DADAX067940256X
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