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The Learned Eye : Regarding Art, Theory, and the Artist's Reputation.
Contains contributions on Rembrandt, Van Dyck, Frans Hals, and others, linked by the theme of the 'learned eye', focusing on studio practice, theory of art, or the development of the artist's self-image. The 'learned eye' here refers to the experienced eye of the art histori...
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| Main Author: | |
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| Other Authors: | , |
| Format: | Electronic eBook |
| Language: | English |
| Published: |
Amsterdam :
Amsterdam University Press,
2005.
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| Series: | Rembrandt.
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| Subjects: | |
| Online Access: |
Full text (Wentworth users only) |
| Local Note: | ProQuest Ebook Central |
MARC
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| 100 | 1 | |a Doel, Marieke van den. | |
| 245 | 1 | 4 | |a The Learned Eye : |b Regarding Art, Theory, and the Artist's Reputation. |
| 260 | |a Amsterdam : |b Amsterdam University Press, |c 2005. | ||
| 300 | |a 1 online resource (229 pages) | ||
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| 490 | 1 | |a Rembrandt | |
| 505 | 0 | |a Table of Contents; Introduction; The Learned Eye; Biography of Ernst van de Wetering; Part I: The Work of Art; In the Beginning There Was Red; The Use of Wood in Rembrandt's Workshop. Wood Identification and Dendrochronological Analyses; Rembrandt's Drawing The Raising of the Cross in the Museum of Fine Arts, Boston; The Portrait of Theodorus Schrevelius; Part II: The Rules of Art; The Contours in the Paintings of the Oranjezaal, Huis ten Bosch; Aelbert Cuyp's Innovative Use of Spatial Devices; Colour Symbolism in Seventeenth-Century Dutch Painting. | |
| 505 | 8 | |a Rembrandt and Rhetoric. The Concepts of affectus, enargeia and ornatus in Samuel van Hoogstraten's Judgement of His MasterPart III: The Artist's Reputation; 'A Record and Memorial of his Talents for Posterity': Anthony van Dyck's Sketch of the Garter Procession; 'Das Werk erdacht und cirkulirt'. The Position of Architects at the Court of King Ferdinand I of Bohemia and His Son, Archduke Ferdinand II of Austria; Crossing the Wall of History. Etienne Deléc. | |
| 520 | |a Contains contributions on Rembrandt, Van Dyck, Frans Hals, and others, linked by the theme of the 'learned eye', focusing on studio practice, theory of art, or the development of the artist's self-image. The 'learned eye' here refers to the experienced eye of the art historian, the curator, or the restorer, reflecting the scope of Wetering's work. | ||
| 588 | 0 | |a Print version record. | |
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| 650 | 0 | |a Art, Dutch |y 17th century. | |
| 650 | 0 | |a Artists |z Netherlands |x Social conditions. | |
| 650 | 0 | |a Visual perception. | |
| 650 | 0 | |a Arts |x Philosophy. | |
| 650 | 0 | |a Aesthetics. | |
| 650 | 2 | |a Visual Perception | |
| 650 | 7 | |a visual perception. |2 aat | |
| 700 | 1 | |a Van Eck, Natasja. | |
| 700 | 1 | |a Korevaar, Gerbrand. | |
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| 830 | 0 | |a Rembrandt. | |
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