Theiler esther (16 resultados)
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Librería: EDITORIALE UMBRA SAS, Foligno, PG, ItaliaEDITORIALE UMBRA SAS
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Condición: Nuovo. Ril. in tela con sovr.ill. a col., cm 28,5x23, pp 334, moltissime tavv. e ill. a col. - ISBN: 9782503590837.
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Librería: Luigi De Bei, PREGANZIOL, TV, ItaliaLuigi De Bei
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Hardback. Condición: nuovo. Estado de la sobrecubierta: nuovo. prima edizione. Browse Authors Contact & Info News BOOK SERIES Irreplaceable Portraits, vol. 2 About this series Painters and Sitters in Early-Seventeenth Century Rome Portraits of the Soul Esther Theiler Pages: 336 p. Size:220 x 280 mm Illustrations:6 b/w, 146 col.…Language(s):English Publication Year:2023 Buy print version € 190,00 RETAIL PRICE ISBN: 978-2-503-59083-7 Hardback Available Portraits of poets, courtiers, buffoons and the artists themselves are examined in the context of the development of portraiture and the cultural environment of early seicento Rome. SUBJECT(S) Baroque & Rococo painting Artists (incl. musicians) Artistic techniques and materials Italian Peninsula (c. 1501-1800) BIO Esther Theiler holds a PhD in Art History and is currently an independent scholar working in the areas of seventeenth century art history, nineteenth to twentieth century art history, portraiture and literature. SUMMARY Significant innovations in portraiture occurred during the transitional period from the end of the sixteenth-century to the early seventeenth-century in Rome. Portraits by Annibale Carracci, Valentin de Boulogne, Anthony van Dyck, Simon Vouet and Gianlorenzo Bernini display a loosening of formality and a trend towards movement. These artists produced a portrait type that was more inclusive of the viewer, more communicative, more revealing of a private face. The portraits in this study were less likely to celebrate achievements, family or social standing, titles, rank or station. Instead they portray individuals who exist apart from their professional personae. They reveal unique and characteristic traits of their subjects captured at a particular moment in time. They used subtle affetti, painting technique and colour to express mood and atmosphere and evoke the presence of the sitter. The sitters include poets, courtiers, buffoons and the artists themselves, and each composition is attentive to the thoughts, emotions and imaginative life of the individual - Language :Egnlish text.
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Librería: BUCHSERVICE / ANTIQUARIAT Lars Lutzer, Wahlstedt, AlemaniaBUCHSERVICE / ANTIQUARIAT Lars Lutzer
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Condición: gut. 2023. Painters and Sitters in Early-Seventeenth Century Rome : Portraits of the Soul In deutscher Sprache. pages.
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Librería: AHA-BUCH GmbH, Einbeck, AlemaniaAHA-BUCH GmbH
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Buch. Condición: Neu. Druck auf Anfrage Neuware - Printed after ordering - Die Geschichten sind mit feinem Humor erzählt und zeigen Begebenheiten aus dem Alltag, die bei näherem Betrachten oft tiefgründiger sind als erwartet. Auch in den banalsten Momenten des Lebens liegen kleine Botschaften, die uns das Dasein aus einem andere…n Blickwinkel wahrnehmen lassen. Die Autorin teilt ihre Anekdoten und lädt zum Schmunzeln und zum Nachdenken ein.
Editorial: , Brepols, 2023, 2023
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Librería: BOOKSELLER - ERIK TONEN BOOKS, Antwerpen, BelgicaBOOKSELLER - ERIK TONEN BOOKS
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Añadir al carritoHardback, 336 pages, Size:220 x 280 mm, Illustrations:6 b/w, 146 col., Language: English. ISBN 9782503590837. Summary Significant innovations in portraiture occurred during the transitional period from the end of the sixteenth-century to the early seventeenth-century in Rome. Portraits by Annibale Carracci, Valentin de Boulogne,… Anthony van Dyck, Simon Vouet and Gianlorenzo Bernini display a loosening of formality and a trend towards movement. These artists produced a portrait type that was more inclusive of the viewer, more communicative, more revealing of a private face. The portraits in this study were less likely to celebrate achievements, family or social standing, titles, rank or station. Instead they portray individuals who exist apart from their professional personae. They reveal unique and characteristic traits of their subjects captured at a particular moment in time. They used subtle affetti, painting technique and colour to express mood and atmosphere and evoke the presence of the sitter. The sitters include poets, courtiers, buffoons and the artists themselves, and each composition is attentive to the thoughts, emotions and imaginative life of the individuals. TABLE OF CONTENTS Acknowledgements List of Illustrations Introduction The image breathes Rhetorical devices in portraiture The ?motions of the mind?: painting the soul From the Renaissance to the Baroque Chapter One A portrait ?most rarely done full face? of a learned prelate Early seicento portraiture in Rome Venice and colorito Caravaggio and Annibale: ?the new baroque illusionism? The ?proximity and close association of the Monsignore and Annibale? Domenichino and Agucchi Agucchi's imprese: textual expressions of identity Erminia and the Shepherds Venere Dormiente - The Sleeping Venus The portrait of Giovanni Battista Agucchi Annibale Carracci as portraitist Annibale's illness Domenichino and portrait painting Del Mezzo: yearning for the middle Il Trattato della Pittura A portrait by Annibale Carracci or Domenichino? Chapter Two Painting as silent poetry: portraits of Giambattista Marino From decorum to modernit Ut pictura poesis Dicerie Sacre La Galeria Rome: ?with trembling feet, I leave behind myself? Early Roman portraits Caravaggio's portrait: ?another me . . . in two divided? Paris: the portrait by Frans Pourbus ?is very dear to me? Marino's triumphant return to Rome: ?music always, and always poetry, morning and evening? Ottavio Leoni's portraits of writers Maffeo Barberini's circle of poets portraits of the soul ?There are thousands of portraits of me in Rome?: Simon Vouet's lost portrait The ?speaking portrait? in Rome Virginio Cesarini: Fenice degl'ingegni Portrait of a buffoon Chapter Three The upside-down world The parasite The buffoon portrait in the Renaissance: the ?good-natured fool? The sixteenth century: ?the princely tables are cluttered with buffoons? Gabriele Paleotti: ?deformity not deformedly rendered? The seventeenth century: the individual in buffoon portraits Hairy Harry, Mad Peter, and Tiny Amon: court mascots and servants in an urban Arcadia Giangiovetta and the dwarf of the duke of Cr qui Raffaello Menicucci: the buffoon count of Monte San Savino Celeberrimus in utroque Orbe Terrarum: the printed portraits of Raffaello Menicucci Valentin de Boulogne Il Cassero: Rocca del Conte Valentin, il Babuino and Menicucci Tristano Martinelli: from buffoon to actor Bernardino Ricci: Il Tedeschino The ?self? portrait: the life makes the age Chapter Four Artist as virtuoso ?Done with the aid of a mirror? Narcissus: ?as he drank, he chanced to spy the image of his face? The reflection of the Creator Why paint self-portraits? Annibale Carracci's Self-portrait on an Easel Artemisia Gentileschi: ?the soul of this woman? Simon Vouet: absolute absorption Gian Lorenzo Bernini: showing that which does not exist Vel zquez in Rome: brushwork and the blur The expressive power of the brush Conclusion ?Here I am? Appendix I Appendix II Appendix II Bibliography Abbreviations Primary and Secondary Sources Photographic Credits Notes Index Key Subjects and Concepts 0 g.
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Librería: Libreria Studio Bosazzi, Firenze, FI, ItaliaLibreria Studio Bosazzi
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Añadir al carritoRilegato. Condición: nuovo. Pages: 336 p. Illustrations:6 b/w, 146 col. Language(s):English. Publication Year:2023. Brepols. ISBN: 978-2-503-59083-7. Hardback --- SUMMARY Significant innovations in portraiture occurred during the transitional period from the end of the sixteenth-century to the early seventeenth-century in Rome.…Portraits by Annibale Carracci, Valentin de Boulogne, Anthony van Dyck, Simon Vouet and Gianlorenzo Bernini display a loosening of formality and a trend towards movement. These artists produced a portrait type that was more inclusive of the viewer, more communicative, more revealing of a private face. The portraits in this study were less likely to celebrate achievements, family or social standing, titles, rank or station. Instead they portray individuals who exist apart from their professional personae. They reveal unique and characteristic traits of their subjects captured at a particular moment in time. They used subtle affetti, painting technique and colour to express mood and atmosphere and evoke the presence of the sitter. The sitters include poets, courtiers, buffoons and the artists themselves, and each composition is attentive to the thoughts, emotions and imaginative life of the individuals. TABLE OF CONTENTS Acknowledgements List of Illustrations Introduction The image breathes Rhetorical devices in portraiture The motions of the mind : painting the soul From the Renaissance to the Baroque Chapter One A portrait most rarely done full face of a learned prelate Early seicento portraiture in Rome Venice and colorito Caravaggio and Annibale: the new baroque illusionism The proximity and close association of the Monsignore and Annibale Domenichino and Agucchi Agucchi s imprese: textual expressions of identity Erminia and the Shepherds Venere Dormiente The Sleeping Venus The portrait of Giovanni Battista Agucchi Annibale Carracci as portraitist Annibale s illness Domenichino and portrait painting Del Mezzo: yearning for the middle Il Trattato della Pittura A portrait by Annibale Carracci or Domenichino? Chapter Two Painting as silent poetry: portraits of Giambattista Marino From decorum to modernità Ut pictura poesis Dicerie Sacre La Galeria Rome: with trembling feet, I leave behind myself Early Roman portraits Caravaggio s portrait: another me . . . in two divided Paris: the portrait by Frans Pourbus is very dear to me Marino s triumphant return to Rome: music always, and always poetry, morning and evening Ottavio Leoni s portraits of writers Maffeo Barberini s circle of poets portraits of the soul There are thousands of portraits of me in Rome : Simon Vouet s lost portrait The speaking portrait in Rome Virginio Cesarini: Fenice degl ingegni Portrait of a buffoon Chapter Three The upside-down world The parasite The buffoon portrait in the Renaissance: the good-natured fool The sixteenth century: the princely tables are cluttered with buffoons Gabriele Paleotti: deformity not deformedly rendered The seventeenth century: the individual in buffoon portraits Hairy Harry, Mad Peter, and Tiny Amon: court mascots and servants in an urban Arcadia Giangiovetta and the dwarf of the duke of Créqui Raffaello Menicucci: the buffoon count of Monte San Savino Celeberrimus in utroque Orbe Terrarum: the printed portraits of Raffaello Menicucci Valentin de Boulogne Il Cassero: Rocca del Conte Valentin, il Babuino and Menicucci Tristano Martinelli: from buffoon to actor Bernardino Ricci: Il Tedeschino The self portrait: the life makes the age Chapter Four Artist as virtuoso Done with the aid of a mirror Narcissus: as he drank, he chanced to spy the image of his face The reflection of the Creator Why paint self-portraits? Annibale Carracci s Self-portrait on an Easel Artemisia Gentileschi: the soul of this woman Simon Vouet: absolute absorption Gian Lorenzo Bernini: showing that which does not exist Velázquez in Rome: brushwork and the blur The expressive power of the brush Conclusion Here I am Appendix I App.
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Librería: BuchWeltWeit Ludwig Meier e.K., Bergisch Gladbach, AlemaniaBuchWeltWeit Ludwig Meier e.K.
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Buch. Condición: Neu. This item is printed on demand - it takes 3-4 days longer - Neuware 96 pp. Deutsch.
