Stefano Della Bella 1610 1664

Stefano della Bella (1610 - 1664) was an Italian draughtsman and printmaker known for etchings of a great variety of subjects, including military and court scenes, landscapes, and lively genre scenes. He left 1052 prints, and several thousand drawings, but only one known painting. He is known to have illustrated some discoveries for Galileo, and depicted Hansken the famous elephant, when dead. In his final years he produced a number of prints experimenting with tonal effects, though these were little known at the time; he had long made much use of wash in his drawings, and was now attempting with considerable success to achieve similar effects in etching, though only a few good impressions could be taken from the plate.

Stefano Della Bella (1610-1664) was a prominent Italian etcher and printmaker, renowned for his exquisite depictions of landscapes, animals, and decorative motifs in the Baroque style. This collection, with a biographical memoir by an unknown author, showcases Della Bella's versatility as an artist and his mastery of the etching medium. A must-have for lovers of Baroque art and printmaking. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The essays in this volume complement the recent exhibition of Printmakers of the Baroque: 17th-Century Explorations of Space and Light at La Salle University Art Museum during winter 2013-2014. Co-curated by La Salle Associate Professor of Art History Dr. Susan Dixon, the exhibition also provided a foundation for a Baroque art history course taught in spring 2014. This catalogue includes essays and labels written by undergraduate students enrolled in the course, along with reproductions of all 40 artworks included in the exhibition.

In Visual Cultures of Death in Central Europe, Aleksandra Koutny-Jones examines the remarkable cultural preoccupation with death in the Polish-Lithuanian Commonwealth (1569-1795), through a range of Baroque artworks such as coffin portraits, funerary decorations, tomb chapels and religious landscapes.

This collection of essays examines the vogue for games and game playing as expressed in art, architecture, and literature in sixteenth- and seventeenth-century Europe. Moving beyond previous scholarship on game theory, game monographs, and period and regional studies on games, this volume analyzes a range of artistic and literary works produced in England, Scotland, Italy, France, and Germany, which used the game topos to illuminate special themes. In essays dealing with chess, playing cards, dice, gambling, and board and children's games, scholars show how games not only functioned as recreational pastimes, but were also used for demonstrations of wit and skill, courtship rituals, didactic and moralistic instruction, commercial enterprises, and displays of status. Offering new iconographical and literary interpretations, these studies reveal how game play became a metaphor for broader cultural issues related to gender, age, and class differences, social order, politics and religion, and ethical and sexual behavior.