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Table of Contents: Katlijne Van der Stighelen, Introduction - Eric
Jan Sluijter, The Nude, the Artist and the Model: The Case of
Rembrandt - Erna Kok, The Female Nude from Life: On Studio Practice
and Beholder Fantasy - Victoria Sancho Lobis, Printed Drawing Books
and the Dissemination of Ideal Male Anatomy in Northern Europe -
Paul Taylor, Colouring Nakedness in Netherlandish Art and Theory -
Hubert Meeus, Two Founts of Ivory: Nudity on Stage in the
Seventeenth Century Low Countries - -Johan Verberckmoes, Is that
Flesh for Sale? Seventeenth-Century Jests on Nudity in the Spanish
Netherlands - Ralph Dekoninck, Art Stripped Bare by the
Theologians, Even: Image of Nudity / Nudity of Image in the
Post-Tridentine Religious Literature - Veerle De Laet, Een Naeckt
Kindt, een Naeckt Vrauwken ende Andere Figueren: An Analysis of
Nude Representations in the Brussels Domestic Setting.
2013 is officially Frans Hals Year, marking exactly 100 years since
the Frans Hals Museum opened its doors to display the work of this
key Dutch artist of the seventeenth century. The most important
exhibition in this jubilee year is "Frans Hals: Eye to Eye with
Rembrandt, Rubens and Titian," in which key works by Hals are
presented alongside paintings by such famed colleagues as Titian,
Rembrandt, Van Dyck, Jordaens and Rubens. In this eponymous
publication, all the works in the exhibition are presented side by
side, enabling the reader to compare the masterpieces and see just
how the artists inspired one another. These unique comparisons and
juxtapositions of master painters lead to a far deeper and more
nuanced understanding of seventeenth-century painting and its tight
web of artistic connections. Famous painters, after all, often
produced their works in response to one another, with the aim of
proving their creative and technical mettle--while also aiming to
surpass (and perhaps even intimidate) their fellow artists. This
painterly swordsmanship spurred individual artists--and art as a
whole--to ever greater heights. A selection of distinguished
international specialists casts new light on Hals' virtuosity, his
central role in seventeenth-century culture and his artistic
relationship with his contemporaries in Antwerp (Rubens, Van Dyck)
and Amsterdam (Rembrandt).
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