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Charley Toorop's (1891-1955) deep admiration for Vincent van Gogh dissected in four fascinating essays.
Charley Toorop's work has its own originality and power. That does not mean that she had no eye for the work of other artists. On the contrary. Toorop admired the paintings of Piet Mondriaan, but also of foreign contemporaries such as Pablo Picasso and Fernand Léger. -
The netherlandish and german drawings of the 15th and 16th centuries of the frits lugt collection 3
- Waanders
- 18 Décembre 2008
- 9789066302976
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Rembrandt in a red beret the vanishings and reappearances of a self-portrait
Gary Schwartz
- Waanders
- 23 Janvier 2023
- 9789462585348
Rembrandt in a red beret: the vanishings and reappearances of a self-portrait follows the fortunes of a fascinating painting along two lines. First is the history of the painting as a precious collector's object, a story almost too unlikely to be true. In 1823 it was bought by the future King Willem II as one of his first purchases for the greatest collection of paintings ever assembled by a Dutch individual. For nearly a hundred years it remained with his heirs, coming to Weimar. Then, in 1921 it was stolen from the Weimar Museum, to turn up in 1945 in Dayton, Ohio, owned by a man who said he bought it in 1934 from a German sailor on the New York waterfront. What followed is revealed in this book for the first time, based on declassified U.S. government information. In 1947 the U.S. government seized the Rembrandt under such strict terms that 20 years later, when it wanted to return it to Germany, it was forced to go into legislative and diplomatic gymnastics to do so. Upon its return, an heir to the Weimar title sued for its restitution, and after seven years of one trial after another, she got it. She sold it in 1983 to the private collector who still owns it. Since 1921 it has been on public display only for 10 days in Dayton (1947) and 10 weeks in Washington (1967). The book also traces the critical history of the painting as a Rembrandt. In 1969 his authorship was disputed by Horst Gerson, an opinion that was seconded by the Rembrandt Research Project. Examining all the evidence and arguments, the eminent Rembrandt specialist Gary Schwartz comes to the conclusion that there is no reason not to accept the painting for what it looks like - a self-portrait of the great master, painted by his own hand.
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Published to accompany the exhibit of The Last Caravaggio at the Museum Het Rembrandthuis, Amsterdam, which runs until 13th February 2011.
In this book, Caravaggio's last painting, John the Baptist Reclining, is set for the first time against Caravaggio's other masterpieces. Prominent art experts and critics reveal the adventurous circumstances under which this painting has travelled all over the world during the past 400 years. The essays provide a thoroughly in-depth examination of the piece, covering biographical notes on the painter, evidence for the painting's authenticity and technical analysis based on first-hand observation of the painting itself
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Body and embodiment in dutch expressive arts 1450-1700
Lehmann/Roodenburg
- Waanders
- 1 Décembre 2008
- 9789040084188
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Odilon redon and emile bernard masterpieces from the andries bonger collection
Fred Leeman
- Waanders
- 16 Septembre 2009
- 9789040085895