Dreaming of ItalyRoyal Picture Gallery Mauritshuis, 2006 - 128 pagini This book is about the love West European artists have felt for centuries for Italy - the land of light, warmth, art and culture. By means of fifty small master works by, among others, Maarten van Heemskerck, Claude Lorrain, Poussin, Corot, Turner and Feuerbach, Henk van Os outlines for the first time the artistic development that occurred as a result of this dreaming about Italy. The book begins with the 16th century, when artists wanted to study and document the remains of Italy's ancient civilisation. Later, their 17th-century successors acquired an eye for the beauty of the landscape and the golden glow of the Italian sun. With their idealised landscapes, these artists set the tone for a long time to come. Painting outdoors, which became fashionable in Rome, led around 1800 to new visions about the country. There was growing attention for the people and their obvious religious convictions. Italy became a place of perfect harmony.. |
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Pagina 20
... remarkable spontaneity . Starting in about the 1970s there has been a growing interest among art historians in oil sketches from the 1800s . In Paris's Louvre it appeared that there were no fewer than 140 oil sketches by Pierre Henri de ...
... remarkable spontaneity . Starting in about the 1970s there has been a growing interest among art historians in oil sketches from the 1800s . In Paris's Louvre it appeared that there were no fewer than 140 oil sketches by Pierre Henri de ...
Pagina 84
... remarkable , however , how much Rousseau's early oil sketches resemble those of his much - maligned teacher . It would seem that even this vehement advocate of the unrestrained outdoor style of working needed to have a few paintings as ...
... remarkable , however , how much Rousseau's early oil sketches resemble those of his much - maligned teacher . It would seem that even this vehement advocate of the unrestrained outdoor style of working needed to have a few paintings as ...
Pagina 112
... remarkable . In the first place , the actual subject of Cimabue's painting — the Madonna — can scarcely be seen in Leighton's picture . For today's spectator this has the advantage that he need not recall the fact that the Rucellai ...
... remarkable . In the first place , the actual subject of Cimabue's painting — the Madonna — can scarcely be seen in Leighton's picture . For today's spectator this has the advantage that he need not recall the fact that the Rucellai ...
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ancient Anselm Feuerbach architectural Arnold Böcklin Art Gallery art historian Asselijn Bartholomeus Breenbergh Bracciano capriccio Carl Blechen Cat.no cityscape classical Claude Joseph Vernet Claude Lorrain composition contrast Cornelis van Poelenburch Corot depicting Deutsch-Römer drawing dream of Italy Dürer Dutch Eckersberg exhibition figures Fohr foreground French Gerard ter Borch German Goltzius Grand Tour Haarlem Hague Hendrick Goltzius hermit ideal landscape Ingres inspired Iphigenia Italian landscape Jan Gossaert Joseph Anton Koch journey Karel van Mander klassische Land Kunst landscape painting Leighton Lingelbach London longing for Italy Maarten van Heemskerk Mauritshuis monuments motif Naples National Gallery nature Nazarenes Netherlands Nicolas Poussin nineteenth century Northern Netherlandish oil sketches painter palaces Paris Paul Bril Picture Gallery Mauritshuis piece plein-air painting Ponte Molle pope Private collection religious Roman Rome Royal Picture Gallery ruins scene Sehnsucht showing sublime Sweerts Tivoli tradition Turner Utrecht Vasari's Venice View viewer Villa Waetzoldt Winterthur Wittel