Flemish Paintings Of The Seventeenth Century

"The National Gallery of Art's collection of seventeenth-century Flemish paintings is relatively small, numbering less than sixty, but exceptional in quality. At the core of the collection are twelve paintings by Sir Peter Paul Rubens and his school and seventeen paintings by Sir Anthony van Dyck, including some of their finest masterpieces. Also represented are excellent works by other important Flemish masters, among them Osias Beert the Elder, Adriaen Brouwer, Jan Brueghel the Elder, and David Teniers the Younger." "This catalogue of the Gallery's remarkable collection of Flemish paintings offers new information about each of the individual works. Stylistic characteristics of the paintings have been analyzed; historical circumstances related to their creation have been assessed; and their provenances have been reexamined. A number of the paintings have undergone conservation treatment, while the technical characteristics of other works have been thoroughly studied. This exhaustive research has indicated that the titles, dates, and even attributions of a number of works needed to be changed, and the catalogue includes a concordance of these revisions."--BOOK JACKET.

A catalogue of 128 paintings produced during this period in which the art of portraiture was transformed, religious imagery dynamized, and new genres such as flower painting were established. The art of Holland's Golden Age is perennially popular with collectors and gallery visitors alike and this book provides a new insight into this unique private collection. In his introduction Ivan Gaskill considers the extremely varied character of Dutch and Flemsih seventeenth century art. It ranges from minutely observed scens of everyday life to portraits, religious works and intimate still-life compositions. The Thyssen-Bornemisza Collection is especially rich in landscapes, a subject which had emerged as a seperate genre in the Netherlands in the previous century. The author outlines the development of painting on both sides of the border, placing it in its social and historical context, and goes on to discuss the taste for Dutch and Flemish art from the seventeenth century to the present day and spotlights some of the earlier collectors. This detailed catalogue of 128 paintings is the result of meticulous researchin British, Dutch and American libraries and archives. The entries are arranged in ten groups by subject so that thematic similarities can be conveniently examined. Amongst the most celebrated works is Frans Hal's monumental "Family Portrait" - once the most expensive painting in the world. All the paintings are illustrated in colour and are accompanied by comparative illustrations and technical photographs.

This is a catalogue of Flemish paintings housed in South African public collections. It offers a unique and interesting account of the many important paintings overlooked in international scholarship through lack of exposure.

Focusing on three celebrated northern European still life painters?Jan Brueghel, Daniel Seghers, and Jan Davidsz. de Heem?this book examines the emergence of the first garland painting in 1607-1608, and its subsequent transformation into a widely collected type of devotional image, curiosity, and decorative form. The first sustained study of the garland paintings, the book uses contextual and formal analysis to achieve two goals. One, it demonstrates how and why the paintings flourished in a number of contexts, ranging from an ecclesiastical center in Milan, to a Jesuit chapter house and private collections in Antwerp, to the Habsburg court in Vienna. Two, the book shows that when viewed over the course of the century, the images produced by Brueghel, Seghers and de Heem share important similarities, including an interest in self-referentiality and the exploration of pictorial form and materials. Using a range of evidence (inventories, period response, the paintings themselves), Susan Merriam shows how the pictures reconfigured the terms in which the devotional image was understood, and asked the viewer to consider in new ways how pictures are made and experienced.

Heda's Banquet Piece, Frans Hals' Willem Coymans, and Rembrandt's Lucretia. Paintings by these and other masters attracted the American collectors P. A. B. Widener, his son Joseph, and Andrew W. Mellon, whose bequests form the heart of the National Gallery's distinguished and remarkably cohesive collection of ninety-one Dutch paintings.