Godefridus Schalcken Late 17th Centurhb

In his own day, Godefridus Schalcken (1643?1706) was an internationally renowned Dutch painter, but little is known about the four years that he spent in London. Using newly discovered documents, this book provides the first comprehensive examination of Schalcken?s activities there. The author analyses Schalcken?s strategic appropriations of English styles, his attempts to exploit gaps in the art market, and his impact on tastes in London?s milieu. Five chapters survey his art during these years, concluding with a critical catalogue of all his London-period work.

Godefridus Schalcken: A Late 17th-century Dutch Painter in Pursuit of Fame and Fortune is the first book in English dedicated to the entire artistic output of seventeenth-century Dutch artist Godefridus Schalcken (1643- 1706). It examines the artist' s paintings and career trajectory against the background of his ceaseless pursuit of fame and fortune. Combining a comprehensive analysis of Schalcken's artistic development and style with our increasing biographical knowledge, it provides an authoritative overview of Schalcken' s ample production as an artist. It also integrates his art into the circumstances of his life in relation to his ambitious career aspirations, exploring how economic conditions, a concomitantly oversaturated art market, talent and ambition, demographics, and even sheer luck all played a role in Schalcken' s great professional success. Since Schalcken' s art, like that of all Dutch painters, provides a plethora of information about seventeenth-century culture-- its predilections, its prejudices, indeed, its very mind-set-- the book inevitably links his work to the broader socio-cultural contexts in which it was created.

This book the first comprehensive examination of the Dutch painter Godefridus Schalcken's activities in the four years that he spent in London, surveying his art and concludling with a critical catalogue of all his London-period work.

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.

This book by Yannis Hadjinicolaou offers an account of the term Handeling in the Netherlandish art and theory of the late Rembrandists (like Arent de Gelder) and hence between 1650 and 1720.

Is it possible to talk about Dutch art after 1680 outside the prevailing critical framework of the "age of decline"? Although an increasing number of studies are being published on the art and society of this period, genre painting of this era continues to be dismissed as an uninspired repetition of the art of the second and third quarters of the seventeenth century, known as the Dutch Golden Age. In this stunningly illustrated study, Aono reconsiders the long-dismissed genre painting from 1680-1750. Grounded in close analysis of a range of paintings and primary sources, this study illuminates the main features of genre painting, highlighting the ways in which these elements related to the painters' close connections to, on the one hand, collectors, and on the other, to classicism, one of the dominant artistic styles of that time. Three case studies, richly supplemented by a catalogue of 29 selected painters and their work, offer the first clear picture of the genre painting of the period while providing new insights into painters' activities, collectors' tastes and the contemporary art market.

The aim of this study of genre painting from 1680 to 1750 is to understand the painters artistic intentions and professional choices by examing these in the context of the moment in which these paintings were produced and appreciated. Several case studies explore how painters inherited, up-dated and improved upon the pictorial tradition of seventeenth-century genre painting, and also how this was closely related to the taste of collectors, art theory and the artistic tendencies of the period.

Focusing on the interrelationship between Jacob van Loo's art, honor, and career, this book argues that Van Loo's lifelong success and unblemished reputation were by no means incompatible, as art historians have long assumed, with his specialization in painting nudes and his conviction for manslaughter. Van Loo's iconographic specialty - the nude - allowed his clientele to present themselves as judges of beauty and display their mastery of decorum, while his portraiture perfectly expressed his clients' social and political ambitions. Van Loo's honor explains why his success lasted a lifetime, whereas that of Rembrandt, Frans Hals, and Vermeer did not. Taking an interdisciplinary approach, this book reinterprets the manslaughter case as a sign that Van Loo's elite patrons recognized him as a gentleman and highly-esteemed artist.