Étiqueté : XVIIe siècle

Appel à communication : « The Caravaggio Question », Zurich/Rome/Lugano et en ligne, date limite le 29 septembre 2021

This « Diffused Conference » is highly innovative in its title, in the way it is organised and in the audience to which it is addressed. In order to take advantage of a wide participation not only of specialists but also of students and « art amateurs », it will occupy the entire month of January 2022 (on Mondays 10, 17, 24, 31), with a number of speakers ranging from 5 to 7 for each day and half an...

Parution : Michael Zell, « Rembrandt, Vermeer, and the Gift in Seventeenth-Century Dutch Art », Amsterdam, Amsterdam University Press, 2021

This book offers a new perspective on the art of the Dutch Golden Age by exploring the interaction between the gift’s symbolic economy of reciprocity and obligation and the artistic culture of early modern Holland. Gifts of art were pervasive in seventeenth-century Europe and many Dutch artists, like their counterparts elsewhere, embraced gift giving to cultivate relations with patrons, art lovers, and other members of their social networks. Rembrandt also created distinctive works to function...

Parution : J. Vanessa Lyon, « Figuring Faith and Female Power in the Art of Rubens », Amsterdam, Amsterdam University Press, 2020

Figuring Faith and Female Power in the Art of Rubens argues that the Baroque painter, propagandist, and diplomat, Peter Paul Rubens, was not only aware of rapidly shifting religious and cultural attitudes toward women, but actively engaged in shaping them. Today, Rubens’s paintings continue to be used — and abused — to prescribe and proscribe certain forms of femininity. Repositioning some of the artist’s best-known works within seventeenth-century Catholic theology and female court culture, this book...

Parution : Frédéric Cousinié et al. (dir.), « Connecteurs divins. Objets de dévotion dans l’Europe moderne (XVIe-XVIIe siècle) », Paris, Ars, 2020

TABLE DES MATIÈRES : Introduction (F. Cousinié) / Porter l’Agnus Dei. Usages et images des bijoux sacrés entre Renaissance et Contre-Réforme (Anne Lepoittevin, Sorbonne Université) / Le chapelet entre dénonciations et défenses. La critique du rosaire dans la littérature religieuse et la culture visuelle réformées du XVIe siècle (Daniela Solfaroli Camillocci, Université de Genève) / Légitimation et inscription fictionnelle – Ceinture, Cordon, Scapulaire dans la France du XVIIe siècle (Frédéric Cousinié, Université de Rouen-Normandie) /...

Parution : Katlijne Van der Stighelen, Hans Vlieghe, « Portraits of Unidentified and Newly Identified Sitters Painted in Antwerp. Corpus Rubenianum Ludwig Burchard XIX.3 », Turnhout, Brepols, 2021

This book, one of four devoted to Rubens’s portraiture, contains a catalogue of all the portraits of unidentified individuals attributed by Ludwig Burchard or by the authors to Rubens and executed in Antwerp. The volume thus complements the catalogue of all the portraits of known persons painted by Rubens in Antwerp, published in the Corpus Rubenianum Ludwig Burchard as Part XIX.2 in 1987. A decade earlier the volume on the portraits painted by Rubens outside...

Parution : Nicola Suthor, « Bravura: Virtuosity and Ambition in Early Modern European Painting », Princeton University Press, 2021

The painterly style known as bravura emerged in sixteenth-century Venice and spread throughout Europe during the seventeenth century. While earlier artistic movements presented a polished image of the artist by downplaying the creative process, bravura celebrated a painter’s distinct materials, virtuosic execution, and theatrical showmanship. This resulted in the further development of innovative techniques and a popular understanding of the artist as a weapon-wielding acrobat, impetuous wunderkind, and daring rebel. In Bravura, Nicola Suthor offers...

Parution : Nico van Hout, « Study Heads. Corpus Rubenianum Ludwig Burchard, Part XX, 2 », Turnhout, Brepols, 2021

This book is devoted to a remarkable aspect of Rubens’s painted production. It investigates and catalogues not only works that Ludwig Burchard (1886–1960) gathered into the category of ‘Study Heads’, but also head studies by artists closely connected to Rubens’s workshop which were demonstrably used in his paintings. The existence of a stock of study heads or tronies allowed Rubens and his collaborators to exploit the same figures in many different contexts and create satisfying...

Journées d’étude : « Le portrait en Provence au XVIIe siècle », Aix-en-Provence, Musée Granet, 1-2 juillet 2021

Journées d’étude organisées par Magali Théron – Telemme AMU-CNRS, Delphine Bastet et Paméla Grimaud–musée Granet S’inscrivant dans le prolongement des journées d’études organisées en décembre 2019 par le laboratoire Telemme sur « L’art en Provence », ce nouveau volet, qui se déroule sur une journée et demi, se propose de se concentrer sur le genre spécifique du portrait au XVIIe siècle. Sujet inédit, le portrait en Provence, n’a pour l’heure suscité que de rares travaux dans des articles ou...

Parution : Julie Farguson, « Visualising Protestant Monarchy. Ceremony, Art and Politics after the Glorious Revolution (1689-1714) », Woodbridge, Boydell Press, 2021

The first comprehensive, comparative study of the visual culture of monarchy in the reigns of William and Mary and Queen Anne. This book provides the first comprehensive, comparative study of the visual culture of monarchy in the reigns of William and Mary and Queen Anne. It makes innovative use of material evidence and new primary sources to re-evaluatethe practice of kingship and queenship to produce an original interpretation of the British monarchy during a period...

Parution : Karin Leonhard, « The Fertile Ground of Painting. 17th-Century Still Lives and Nature Pieces », Turnhout, Brepols, 2020

Still Life painting thematizes the ability of Nature and Art to produce similarities and is therefore predestined for a theorization of mimetic strcutures of Art in general. 17th-Century Netherlandish Still Life painting actively participated in the intellectual discourse of natural philosophy and the natural sciences, even though art history until recently described it, somewhat simplifying, as realistic-representative painting. We urgently need a rehabilitation of the notion of Mimesis. The author restarts the discussion, by putting...

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