Issued in connection with an exhibition held Oct. 5, 2010-Jan. 17, 2011, Metropolitan Museum of Art, New York, and Feb. 23-May 30, 2011, National Gallery, London (selected paintings only).
Issued in connection with an exhibition held Oct. 5, 2010-Jan. 17, 2011, Metropolitan Museum of Art, New York, and Feb. 23-May 30, 2011, National Gallery, London (selected paintings only).
Jan van Eyck was a fifteenth century Netherlandish painter of altarpieces, single-panel religious figures and commissioned portraits, who perfected the newly developed technique of oil painting. Panel paintings like the ‘Arnolfini Portrait’ and ‘The Ghent Altarpiece’ are celebrated for their unprecedented use of naturalism, complex iconography and geometric perspective. Although only 22 paintings are confidently attributed to Van Eyck, his virtuosity and pioneering developments would have a lasting impact on the course of Western art. This eBook presents van Eyck’s complete works in stunning detail, with concise introductions, hundreds of high quality images and the usual Delphi bonus material. (Version 1) * The complete paintings of Jan van Eyck – over 350 images, fully indexed and arranged in chronological order * Features concise introductions for all 22 extant paintings, giving valuable contextual information * Enlarged ‘Detail’ images, allowing you to explore van Eyck’s works in detail, as featured in traditional art books * Hundreds of images in colour – highly recommended for viewing on tablets and smartphones or as a valuable reference tool on more conventional eReaders * Easily locate the artworks you wish to view * Special glossary of the artist’s paintings * Includes van Eyck's drawings, disputed works and workshop paintings – explore the artist’s varied works * Features three bonus biographies – discover van Eyck's world Please visit www.delphiclassics.com to browse through our range of exciting e-Art books CONTENTS: The Paintings Ghent Altarpiece Portrait of a Man with a Blue Chaperon Saint Francis Receiving the Stigmata Crucifixion and Last Judgement Portrait of Cardinal Niccolò Albergati Léal Souvenir Portrait of a Man in a Turban (Self Portrait) Arnolfini Portrait Annunciation (Washington) Annunciation (Madrid) Portrait of Baudouin de Lannoy Madonna of Chancellor Rolin Portrait of Jan de Leeuw Virgin and Child with Canon van der Paele Dresden Triptych Lucca Madonna Portrait of Giovanni di Nicolao Arnolfini Madonna in the Church Portrait of Margaret van Eyck Madonna at the Fountain Madonna of Jan Vos Glossary of the Paintings Other Artworks List of Drawings, Lost, Disputed and Workshop Works The Biographies Extract from ‘Life of Antonello Da Messina’ (1550) by Giorgio Vasari Van Eyck (1905) by J. Cyril M. Weale Jan van Eyck (1911) by Joseph Archer Crowe Please visit www.delphiclassics.com to browse through our range of exciting titles or to buy the whole Art series as a Super Set
Rembrandt’s extraordinary paintings of female nudes—Andromeda, Susanna, Diana and her Nymphs, Danaë, Bathsheba—as well as his etchings of nude women, have fascinated many generations of art lovers and art historians. But they also elicited vehement criticism when first shown, described as against-the-grain, anticlassical—even ugly and unpleasant. However, Rembrandt chose conventional subjects, kept close to time-honored pictorial schemes, and was well aware of the high prestige accorded to the depiction of the naked female body. Why, then, do these works deviate so radically from the depictions of nude women by other artists? To answer this question Eric Jan Sluijter, in Rembrandt and the Female Nude, examines Rembrandt’s paintings and etchings against the background of established pictorial traditions in the Netherlands and Italy. Exploring Rembrandt’s intense dialogue with the works of predecessors and peers, Sluijter demonstrates that, more than any other artist, Rembrandt set out to incite the greatest possible empathy in the viewer, an approach that had far-reaching consequences for the moral and erotic implications of the subjects Rembrandt chose to depict. In this richly illustrated study, Sluijter presents an innovative approach to Rembrandt’s views on the art of painting, his attitude towards antiquity and Italian art of the Renaissance, his sustained rivalry with the works of other artists, his handling of the moral and erotic issues inherent in subjects with female nudes, and the nature of his artistic choices.
How medieval Dutch society laid the foundations for modern capitalism The Netherlands was one of the pioneers of capitalism in the Middle Ages, giving rise to the spectacular Dutch Golden Age while ushering in an era of unprecedented, long-term economic growth. Pioneers of Capitalism examines the formal and informal institutions in the Netherlands that made this economic miracle possible, providing a groundbreaking new history of the emergence and early development of capitalism. Drawing on the latest quantitative theories in economic research, Maarten Prak and Jan Luiten van Zanden show how Dutch cities, corporations, guilds, commons, and other private and semipublic organizations provided safeguards for market transactions in the state’s absence. Informal institutions developed in the Netherlands long before the state created public safeguards for economic activity. Prak and van Zanden argue that, in the Netherlands itself, capitalism emerged within a robust civil society that constrained and counterbalanced its centrifugal forces, but that an unrestrained capitalism ruled in the overseas territories. Rather than collapsing under unrestricted greed, the Dutch economy flourished, but prosperity at home came at the price of slavery and other dire consequences for people outside Europe. Pioneers of Capitalism offers a panoramic account of the early history of capitalism, revealing how a small region of medieval Europe transformed itself into a powerhouse of sustained economic growth, and changed the world in the process.
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