dyck anthonie (9 resultados)

Paperback. Condición: Good.

Paperback. Condición: As New. New in shrinkwrap ; 4to 11" - 13" tall.

Condición: good. Fast Free Shipping â" Good condition. It may show normal signs of use, such as light writing, highlighting, or library markings, but all pages are intact and the book is fully readable. A solid, complete copy that's ready to enjoy.

Condición: new.

Hardcover. Condición: Very Good. The pages are lightly tanned at the edges. The copy shows minor external wear, but is in otherwise clean condition.

Hardcover. Condición: Fine. Estado de la sobrecubierta: Near Fine. 1st. (NETH) Presumed 1st edition. No markings, Fine in Near Fine dust jacket with minor faults to dust jacket. Cloth, [384]pp, colour and B&W reproductions of drawings. Among the extensive holdings of Old Master drawings owned by the Boijmans Van Beuningen Museum, the significant collection of drawings by the great Antwerp masters Peter Paul Rubens, Jacob Jordaens, and Anthonie van Dyck stand out as absolute highlights. This generously illustrated publication examines 70 of their important drawings, discussing not only the significance of these works, but also their provenance, attribution, and dating. It also helps to put the work in context by considering the work of a variety of contemporaries on the 17th-century Flemish scene, many of whom were influenced directly by the work of these masters, as well as by including essays on a variety of topics of art and culture in Antwerp. A heavy book. (6.1 JM LVR 206/0 Size: Folio - over 12" - 15" tall.

Condición: Sehr gut. 4°. 31 x 24 cm. 192 Seiten. Gebundener Original-Pappband mit Original-Schutzumschlag. (Meesters der Schilderkunst). 1. Auflage. Niederländischsprachige Ausgabe. Mit zahlreichen Abbildungen. Schutzumschlag minimal berieben. Vorsätze wenig gebräunt. Gutes bis sehr gutes Exemplar. First edition. Dutch edition. With many illustrations. Original hardcover with dust jacket. Dust jacket slightly rubbed. Endpapers slightly darkened. Nearly fine copy.

An old man on the left in profile reaching out towards a younger woman to the right. This impressive work on paper is said o be based on a lost self-portrait by Titian. Rather than a mistress, the young woman might be seen as a personification of Pictura, or Painting. She is clearly oversized in respect to the painter. Titian had used an extra-large woman in a series of paintings of a nude Venus, in each of which the woman is larger than the male musician. This discrepancy in scale might mean that the man is an "artist" creating his "work of art". Music, as a metaphor for the creation of art, has been a common theme in painting in every century since the Renaissance. Instead of music here Titian (or possibly Van Dyck) constructed a composition in which touch becomes the metaphor for "painting." A skull is positioned within a niche under the elbow of the woman. The lower part of the print has been cut out. The text would read: 'Ecco il belveder ó che felice sorte! / Che la fruttifera frutto in ventre porte // Ma ch'ella, ó me vita et morte piano / demone tra l'arte del magno Titiano // Al molto illustre, magnifico et osseruandis.mo sig.re il SIG LUCA VAN UFFEL, in segno d'affectione et inclinatione / amorevole como Patrone et singularis.mo amico suo dedicato il vero ritratto del unico Titiano Ant. van Dyck.' The dedicatee of the print is Lucas van Uffelen (1586-1638) art dealer and patron of van Dyck. l Etching and engraving on paper pasted on cardboard; total 261 x 224 mm; traces of glue visible on the surface, some dirt and a tear on the right margin repaired while attaching the print to the cardboard. Bright impression; late state; Hollstein 21.

Engraving on cream laid paper, 9 1/4 x 6 3/8 inches (234 x 161 mm), full margins. Water stain throughout bottom, diagonal creases in the area of the bottom right corner, paper tape along top edge on recto. A very well inked impression. Flemish painter and engraver Paulus Pontius was born in Antwerp in 1603, and it was in this city that his full life would unfold. At the young age of 13, he was apprenticed to the still life painter Osias Beert, and subsequently to Lucas Vosterman, who was heavily associated with the workshop of Peter Paul Rubens. Vosterman trained Pontius in the skill of engraving, which he took to immediately, finding he had great skill at recreating paintings. Pontius was able to capture the minutiae of light and shadow found on the canvas, and mastered the ability to accurately render the subtleties of brushwork in this alternate media. His success as an engraver cemented his role in the workshop of Rubens, and in 1624, when Vosterman found himself at odds with Rubens, and left Antwerp for England, Pontius assumed his role as foremost engraver in the workshop. It was in this year that Pontius took up lodgings in Rubens's home, and continued to live there until 1631, when courtship and marriage (the first of three) brought him away. After the death of Rubens in 1640, Pontius embarked on a very successful career engraving reproductions of master works by artists including Rubens, Anthony van Dyck, Jacob Jordaens, Pieter van Avont, Abraham van Diepenbeeck, Anselm van Hulle, Frans Luycx, Titian and Velázquez, among others. At the time of his death in 1658, Pontius had been admitted as a Master in the Antwerp Guild of Saint Luke, had engraved 42 plates after Rubens, 32 plates by Van Dyck (including a portrait of himself), and was father to seven children. Many of his portrait engravings were widely published during his lifetime, including in van Dyck's Iconography (Antwerp, c. 163244), Johannes Meyssens' Images de divers hommes, and Anselm van Hulle's Icones legatorum (Antwerp, 1648).