Drawings From The Age Of Bruegel Rubens And Rembrandt

This superb book presents 100 notable examples from the Harvard Art Museums’ distinguished collection of Dutch, Flemish, and Netherlandish drawings from the 16th to 18th century. Featuring such masters as Pieter Bruegel the Elder, Peter Paul Rubens, and Rembrandt van Rijn, the volume showcases beautiful color illustrations accompanied by insightful commentary on prevalent styles and techniques. Genres that define this artistic period—landscape, scenes of everyday life, portraiture, and still life—are explored in detail. The book also presents the results of new conservation and technical study, including infrared analysis and scientific examinations of drawing materials. This revelatory new research has allowed previously illegible underdrawings and inscriptions in many of the artworks to surface for the first time, shedding light on longstanding mysteries of production and provenance.

An extraordinary history of Netherlandish drawing, focused on the training and skill of artists during the long 17th century With a lively narrative thread and thematic chapters, this book offers an exceptional introduction to Dutch and Flemish drawing during the long 17th century. Victoria Sancho Lobis discusses the many roles of drawing in artistic training, its function in the production of works in other media, and its emergence as a medium in its own right. Beautifully illustrated with some 120 drawings by artists including Rembrandt van Rijn, Peter Paul Rubens, Hendrick Goltzius, Gerrit von Honthorst, and Jacob De Gheyn, this book surveys current methodologies of studying these works and features a brief history of Dutch papermaking and watermarks as well as a glossary. Paying careful attention to materials and techniques, and informed by recent conservation treatments, Lobis explains how to look at these drawings as records of experimentation and skill, true windows into the artist’s mind.

"The Albertina owns one of the world's most important collections of Netherlandish drawings dating from the period 1430 to 1650, including outstanding individual specimens from the circles around Jan van Eyck, Petrus Christus, or Dirk Bouts. Works by Hieronymus Bosch and Pieter Brueghel the Elder form one of the first highlights of this select collection. The rest of the sixteenth century is exemplified by masterful drawings by artists such as Jan Gossaert, Maarten van Heemskerck, and Hendrick Goltzius. The focus of the collection, however, is Holland's "Golden Age," the seventeenth century, with important works by Rembrandt van Rijn and his school. The southern Netherlands, once dominated by the House of Hapsburg, is represented by the most famous Flemish masters of the age: Peter Paul Rubens, Anton van Dyck, and Jacob Jordaens."--Publisher's website.

The question of whether seventeenth-century painters such as Rembrandt and Rubens were exclusively responsible for the paintings later sold under their names has caused many a heated debate. Despite the rise of scholarship on the history of the art market, much is still unknown about the ways in which paintings were produced, assessed, priced, and marketed during this period, which leads to several provocative questions: did contemporary connoisseurs expect masters such as Rembrandt to paint works entirely by their own hand? Who was credited with the ability to assess paintings as genuine? The contributors to this engaging collection—Eric Jan Sluijter, Hans Van Miegroet, and Neil De Marchi, among them—trace these issues through the booming art market of the seventeenth and eighteenth centuries, arriving at fascinating and occasionally unexpected conclusions.

Dazzling works on paper from a vast and celebrated collection The Harvard Art Museums house one of the most significant collections of works on paper in North America. Among its many strengths are sheets by draftsmen of the French School, including notable masters such as Simon Vouet, Claude Lorrain, Nicolas Poussin, Jean-Antoine Watteau, François Boucher, Jean-Baptiste Greuze, and Jean-Honoré Fragonard. Following an introductory essay that charts the formation of this group of drawings, this catalogue provides thorough entries on more than 100 outstanding examples from the 16th to 18th century that encompass a range of genres and motifs--from landscapes and figure studies to historical and mythological scenes--many of which were produced for major commissions or mark key moments in the development of style and taste in early modern France. Alvin L. Clark Jr. marshals his decades-long engagement with these works, pairing a discerning eye with perceptive readings that deepen our understanding of the drawings and their makers. Distributed for the Harvard Art Museums

This book presents highlights from the collection of Maida and George Abrams, arguably the finest private collection of Dutch seventeenth-century drawings in the world. The works range from studies by renowned masters - including Pieter Bruegel the Elder, Rembrandt van Rijn, Jacob van Ruisdael, Jacques de Gheyn II, Hendrick Goltzius, Hendrick Avercamp, among others - to drawings by lesser-known draftsmen whose contributions are essential to understanding the art of the period.

This sumptuously illustrated volume examines the impact of Indian art and culture on Rembrandt (1606–1669) in the late 1650s. By pairing Rembrandt’s twenty-two extant drawings of Shah Jahan, Jahangir, Dara Shikoh, and other Mughal courtiers with Mughal paintings of similar compositions, the book critiques the prevailing notion that Rembrandt “brought life” to the static Mughal art. Written by scholars of both Dutch and Indian art, the essays in this volume instead demonstrate how Rembrandt’s contact with Mughal painting inspired him to draw in an entirely new, refined style on Asian paper—an approach that was shaped by the Dutch trade in Asia and prompted by the curiosity of a foreign culture. Seen in this light, Rembrandt’s engagement with India enriches our understanding of collecting in seventeenth-century Amsterdam, the Dutch global economy, and Rembrandt’s artistic self-fashioning. A close examination of the Mughal imperial workshop provides new insights into how Indian paintings came to Europe as well as how Dutch prints were incorporated into Mughal compositions.