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A Dutch Italianate, Adriaen Van de Velde represents a point of
artistic crosscommunication across borders, fusing agricultural
landscapes in Holland with mythological Arcadian scenes in Italian
settings. He died at the early age of 35, and yet he produced a
great number of masterpieces that earned him tremendous posthumous
fame in the 18th and 19th centuries, when he was one of the most
sought-after names among collectors in Germany, France and England.
Compared to Mozart's chamber music by the renowned art historian
Wolfgang Stechow (1896-1974), Van de Velde's works are delicate and
carefully composed and demonstrate his mastery of lighting effects
as well as the human figure. His father Willem van de Velde the
Elder and brother of the Younger were both marine painters, who in
the winter of 1672-73 moved from Leiden to England to work in the
service of King Charles II. Adriaen, by contrast, almost certainly
never travelled outside his native country and chose to paint
landscapes rather than seascapes. His meadows, Italianate views,
beaches, dunes, forests, winter scenes and portraits in landscape
settings and are among the very best that the Dutch Golden Age has
produced. Moreover, the artist's drawings are widely considered to
be a high point in 17th-century Dutch draughtsmanship. Yet despite
his fame in previous centuries and the exquisite quality of his
work, there has never been an exhibition devoted to the artist. As
well as bringing together 60 of his finest works, the publication
will reunite the paintings with their preparatory studies in
seductive red chalk or pen and ink for the first time, making it
possible to follow very precisely the various phases in the
artist's creative process - perhaps more so than is possible for
any other Dutch artist of the period. The publication will
therefore offer not only a survey of the artist's oeuvre but also a
rare glimpse of a seventeenth-century Dutch landscape painter at
work, from conception to completion.
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Frans Hals
Bart Cornelis, Jaap Van Der Veen, Friso Lammertse, Justine Rinnooy Kan
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R1,098
R882
Discovery Miles 8 820
Save R216 (20%)
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An illuminating study of the singularly gifted Dutch artist Frans
Hals, a true revolutionary in the field of portraiture and one of
the most sought-after painters of his generation  This
beautifully illustrated book offers a fresh scholarly appraisal of
Frans Hals, more than 30 years since the last large exhibition
devoted to his work. Essays cover all the important aspects of
Hals’s oeuvre, including his militia paintings, his spectacular
family portraits and his depictions of laughter: he was one of very
few artists throughout the history of Western painting who
successfully managed to paint people smiling and laughing. The
texts also provide an overview of the artist’s life, and examine
his extraordinarily virtuoso technique, which involved painting
extremely fast straight on to the canvas. Â The authors set
out to place Hals and his work firmly in the context of his time,
employing new previously unpublished archival research and
technical findings. For the first time, an overview is given of all
the apprentices who worked for Hals. Other themes, such as the
design for portrait prints or the humour seen in the works of Frans
Hals, have never before been treated separately. Â Published
by National Gallery Global/Distributed by Yale University Press
 Exhibition Schedule:  The National Gallery, London
(September 30, 2023–January 21, 2024)  The Rijksmuseum,
Amsterdam (February 15–June 9, 2024)
An expert look at the life and captivating work of the Dutch
painter Nicolaes Maes, Rembrandt's most famous pupil This book
offers a close look at the art of Dutch Golden Age painter Nicolaes
Maes (1634-1693). One of Rembrandt's most talented students, Maes
began by painting biblical scenes in the style of his famous
teacher. He later produced extraordinary genre pieces, in which the
closely observed actions of the main figure, often a woman, have a
hushed, almost monumental character. Maes also depicted mothers
with children or older women praying or sleeping; such works have
placed him among the most popular painters of the Dutch Golden Age.
From around 1660, Maes turned exclusively to portraiture, and his
elegant style attracted wealthy and eminent clients from Dordrecht
and Amsterdam. This generously illustrated volume is the first in
English to cover the full range of his repertoire. The
authors-curators from the National Gallery, London, and the
Mauritshuis, The Hague-bring extensive knowledge to bear for the
benefit of specialists and the general public. Published by
National Gallery Company in association with the Mauritshuis, The
Hague, and Waanders Publishers, Zwolle/Distributed by Yale
University Press Exhibition Schedule: Mauritshuis (October 17,
2019-January 19, 2020) National Gallery, London (February 22-May
31, 2020)
There was a time when museums might have been regarded as rather
forbidding and austere centres of learning, but today they are more
likely to position themselves firmly within the tourism and leisure
industry with all manner of food, fun and family entertainment on
offer. A high-profile museum brand often relies on a fast-changing
menu of temporary exhibitions with an attractive programme of
activities, cleverly marketed to ever-growing numbers of visitors.
Many of these changes have been positive and beneficial but they
have not been without risk to the central purpose of museums as
repositories for collections that are looked after, researched and
displayed with knowledge and sensitivity. The permanent collection
should be the heart and soul of any museum. Nurtured and developed
with intelligence, a collection can be an endless source of
surprise and delight as well as a focus of local and national
pride. The museum in this view is a setting for sustained
encounters with objects and works of art, somewhere to be visited
and revisited over the course of a lifetime, a place that helps to
bind communities, with collections that are cared for and shared as
a reminder of the past and a source of inspiration for the present.
The process of acquiring works for public collections is rarely
easy in any setting. In the face of escalating prices on the art
market and diminishing public funds it is all too easy for
complacency and apathy to settle upon the museum community. But the
task of building collections of national or local importance is
never finished. It should not be about casual 'shopping' or
satisfying the whims of museum directors or sponsors. It is about
building a heritage that is richer, more complete and more relevant
for future generations; with every successful acquisition, a
museum's collection gains in strength and character. The volume is
dedicated to Peter Hecht, the great champion of public art
collections, who throughout his career has worked to show us why
museums matter and how their collections, large or small, national
or local, can make a profound difference to the lives of those who
use them. We hope that it will bring people the world over to
realise the importance of collecting for the public, locally,
nationally and internationally, and to acknowledge and encourage
the role of private individuals, associations and institutions, as
well as public bodies, in this vital endeavour.
The latest in this annual bulletin based on research carried out at
the National Gallery, London, draws on the combined expertise of
scientists, conservators, and curators, bringing together a wealth
of information about artists' materials, practices, and techniques.
The cleaning and restoration of The Adoration of the Kings by
Botticelli and Filippino Lippi reveals its unusually complex
physical and attributional history. The relining of Van Dyck's
equestrian portrait of Charles I is described, an operation that
posed certain challenges due to its large size; at the same time
the records of conservation of this painting offer a potted history
of lining at the National Gallery. The recent cleaning of Jan van
Eyck's Portrait of a Man ("Leal Souvenir") has shown that it
retains an original surface coating that may explain its excellent
condition. And finally, Leonardo's Virgin of the Rocks offers new
discoveries from macro XRF scanning and hyperspectral imaging,
which extend our knowledge of the evolution of the painting during
its production. Published by National Gallery Company/Distributed
by Yale University Press
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