Log in

Relevant bibliographies by topics / Painting, Dutch – 17th century / Journal articles

To see the other types of publications on this topic, follow the link: Painting, Dutch – 17th century.

Journal articles on the topic 'Painting, Dutch – 17th century'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Painting, Dutch – 17th century.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Li, Weixuan. "Innovative Exuberance: Fluctuations in the Painting Production in the 17th-Century Netherlands." Arts 8, no. 2 (2019): 72. http://dx.doi.org/10.3390/arts8020072.

Full text

Abstract:

The surprising and rapid flowering of Dutch art and the Dutch art market from the late 16th century to the mid-17th century have propelled scholars to quantify the volume of production and to determine the source of its growth. However, existing studies have not explored the use of known paintings to specify and visualize the fluctuations of painting production in the Dutch Republic. Employing data mining techniques to leverage the most comprehensive datasets of Netherlandish paintings (RKD), this paper visualizes and analyzes the trend of painting production in the Northern Netherlands throug

APA, Harvard, Vancouver, ISO, and other styles

2

Brown, Christopher, and Peter C. Sutton. "Masters of 17th-Century Dutch Landscape Painting." Simiolus: Netherlands Quarterly for the History of Art 18, no. 1/2 (1988): 76. http://dx.doi.org/10.2307/3780656.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Adams, Ann Jensen, and Peter C. Sutton. "Masters of Dutch 17th-Century Landscape Painting." Art Bulletin 74, no. 2 (1992): 334. http://dx.doi.org/10.2307/3045877.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Kulakova, O. Yu. "Seashells in Dutch Still-Life Painting of the 17th Century." Art & Culture Studies, no. 2 (June 2021): 104–21. http://dx.doi.org/10.51678/2226-0072-2021-2-104-121.

Full text

Abstract:

Dutch still-life is a distinctive cultural phenomenon of the 17th century. Collecting of rarities, curiosities, plants, paintings, sculptures and many other rare things was characteristic for that period. Seashells which were brought from the exotic countries attracted the attention and love of collectors and artists. J. Hoefnagel was one of the first who took an interest to seashells in the emblems. In the early Dutch flower still-life shells were found occasionally but from the beginning of the first quarter of the 17th century artists started to add these graceful creations almost into all

APA, Harvard, Vancouver, ISO, and other styles

5

Smith, David R., Christopher Brown, and Peter C. Sutton. "Images of a Golden Past: Dutch Genre Painting of the 17th Century." Art Bulletin 69, no. 4 (1987): 659. http://dx.doi.org/10.2307/3051009.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Wiersma, Lisa. "‘Colouring’ — Material Depiction in Flemish and Dutch Baroque Art Theory." Art and Perception 8, no. 3-4 (2020): 243–65. http://dx.doi.org/10.1163/22134913-bja10005.

Full text

Abstract:

Seventeenth-century painters were masters at painting objects and beings that seem tangible. Most elaborate was painting translucent materials like skins and pulp: human flesh and grapes, for instance, require various surface effects and suggest the presence of mass below the upper layers. Thus, the viewer is more or less convinced that a volume or object is present in an illusionary space. In Dutch, the word ‘stofuitdrukking’ is used: expression or indication of material, perhaps better understood as rendering of material. In English, ‘material depiction’ probably captures this painterly mean

APA, Harvard, Vancouver, ISO, and other styles

7

Sijia, Liu. "The Scholar’s study in Painting and the History of Collection in Dutch XVII century." Scientific and analytical journal Burganov House. The space of culture 17, no. 1 (2021): 83–94. http://dx.doi.org/10.36340/2071-6818-2021-17-1-83-94.

Full text

Abstract:

his article is devoted to analysis the theme of the “scholar’s study” in Netherland XVII century painting. The reason for the rise of this theme is closely related to the great development of science and navigation in the XVII century in Netherland. Under the economic development, the tradition of collecting prevails among scholars. People admire knowledge and work on scientific inquiry. The author analyzes Gerrit Dou’s self-portrait The Artist’s studio and the symbolic meanings of objects in the painting. The author states that his self-portrait portrays himself as a scholar, reflecting the s

APA, Harvard, Vancouver, ISO, and other styles

8

Korol’kova, Ol’ga A. "The work of Pieter Post in the context of the development of classicism in Dutch painting of the 17th century." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 164–68. http://dx.doi.org/10.30725/2619-0303-2021-2-164-168.

Full text

Abstract:

The author studied the pictorial heritage of the Dutch artist and architect of the 17th century Pieter Post. In the scientific works of Russian art critics, the master’s work is mentioned in the context of his collaboration with the famous architect Jacob van Campen, even though Post is no less significant in the history of art. This article proposes to concentrate on the analysis of the artist’s canvases, tracing the evolution of his creative manner, which was formed under the influence of the art of the Italians and landscape painters of Holland, which is especially noticeable in the first p

APA, Harvard, Vancouver, ISO, and other styles

9

Sijia, Liu. "Naturalism in the Painting of the Leiden School and its Chief Representatives." ICONI, no. 2 (2021): 41–47. http://dx.doi.org/10.33779/2658-4824.2021.2.041-047.

Full text

Abstract:

The article is devoted to Dutch art — the Leiden School in Holland in the 17th century. The author analyzes the defi nition, particularities and the theoretic foundations of the characteristics and the artistic legacy of the painters — the representatives of the Leiden school and also demonstrates the close connection between naturalism and the particularities of the paintings of the school’s adherents and the uniqueness of the works by such masters as Rembrandt Harmenszoon van Rijn, Gerrit Dou and Frans van Mieris the Elder.

APA, Harvard, Vancouver, ISO, and other styles

10

Kang, Minji. "Map as a Painting: Atlas Maior of the Blaeu Family in the 17th-Century Dutch Republic." Journal of the Association of Western Art History 54 (February 28, 2021): 81–108. http://dx.doi.org/10.16901/jawah.2021.02.54.081.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Rosen, Jochai. "On the question of portraits in some Dutch 17th-Century genre paintings." Dutch Crossing 29, no. 2 (2005): 265–88. http://dx.doi.org/10.1080/03096564.2005.11730862.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Sakhno, Irina M. "“Ut Pictura Poesis”: the Poetic and Pictorial Emblem of the Baroque." Observatory of Culture, no. 5 (October 28, 2015): 94–101. http://dx.doi.org/10.25281/2072-3156-2015-0-5-94-101.

Full text

Abstract:

The article describes parallelism of the two arts, poetry and painting, in the emblematic books of the Baroque epoch. In the Baroque art, an emblem, as a visual metaphor, formed stylistic singularity of the culture of the 16th-17th centuries. The emblem represented the principle of simultaneity, a picture with a brief motto coexisting with a didactic or spiritual text. Not only was the emblem an ornamental “insertion”, a piece of encrusted graphics, but it also reflected the Baroque principle of a witty game. A book of emblems could act as a visual dictionary of signified objects. The signific

APA, Harvard, Vancouver, ISO, and other styles

13

김소희. "Silent Bodies: A Study of Child Labor Represented in 17th-Century Dutch Paintings." Korean Bulletin of Art History ll, no. 52 (2019): 153–74. http://dx.doi.org/10.15819/rah.2019..52.153.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

정은희. "Tea Culture represented in the 17th Century Dutch Paintings: Focused on Genre Paintings and Illustrations." Journal of Tea Culture & Industry Studies 41, no. ll (2018): 93–124. http://dx.doi.org/10.21483/qwoaud.41..201809.93.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Franaszek, Andrzej. "‘To look until your head starts spinning’." Werkwinkel 14, no. 1-2 (2019): 9–36. http://dx.doi.org/10.2478/werk-2019-0001.

Full text

Abstract:

AbstractThe article describes what kind of meaning the Polish poet Zbigniew Herbert drew from his many encounters with the Netherlands, its 17th-century painting, its history and a specific form of social norms. It provides the reader with a closer look at the subjective vision of Dutch culture presented by Herbert in the volume of essays, Still Life with a Bridle. It indicates that the poet has constructed a kind of utopia here, describing, among other things, the role of the artist and his commitment to society, and it confronts the poet’s vision with the opinions of contemporary art histori

APA, Harvard, Vancouver, ISO, and other styles

16

Kwiatkowska, Anna. "Representations of Women in Selected Short Stories by Katherine Mansfield Viewed Through Seventeenth-century Genre Paintings." Tekstualia 1, no. 4 (2018): 35–52. http://dx.doi.org/10.5604/01.3001.0013.5150.

Full text

Abstract:

The goal of the paper is to demonstrate the influence of the Dutch masters on the representation of women in Mansfield’s short stories. The correspondences discernible between Mansfieldian women characters and the women figures from the Dutch Old Masters’ canvases as well as Dutch painters’ techniques dealing with perspective and Mansfield’s treatment of narration show a lot in common. When introducing her female protagonists, Mansfield seems to employ certain narrative strategies that are reminiscent of the techniques utilised by the Old Masters. The paper addresses, therefore, two issues. Fi

APA, Harvard, Vancouver, ISO, and other styles

17

Willemijn Fock, C. "werkelijkheid of schijn. Het beeld van het Hollandse interieur in de zeventiende-eeuwse genreschilderkunst." Oud Holland - Quarterly for Dutch Art History 112, no. 4 (1998): 187–246. http://dx.doi.org/10.1163/187501798x00211.

Full text

Abstract:

AbstractOur ideas of what 17th century Dutch interiors looked like have been conditioned by the hundreds of paintings of interiors by Dutch genre painters. Even restorations and reconstructions in our own time (fig. 1) are influenced significantly by them. It is therefore of vital importance to our knowledge of the history of Dutch interior decoration to realise what we can or cannot believe, and to compare these genre interiors with other sources such as probate inventories, building specifications, plans, conditions of sale, contemporary descriptions such as travellers' reports, etc. It is t

APA, Harvard, Vancouver, ISO, and other styles

18

Akdeniz Ay, Defne. "17. Yüzyıl Hollanda Resim Sanatında Yiyecek-İçecek Öğeleri: Portre, Tür ve Ölüdoğa Sanatından Örneklerle (Food and Drink in 17th Century Dutch Painting)." Journal of Tourism and Gastronomy Studies 5, no. 1 (2017): 76–95. http://dx.doi.org/10.21325/jotags.2017.60.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Wigfield, Elizabeth A. "Examination of a painted craquelure on a 17th‐century Dutch marine painting attributed to Willem van de Velde the younger: A case study." Conservator 22, no. 1 (1998): 17–25. http://dx.doi.org/10.1080/01410096.1998.9995123.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Plomp, Michiel. "'Een merkwaardige verzameling Teekeningen' door Leonaert Bramer." Oud Holland - Quarterly for Dutch Art History 100, no. 2 (1986): 81–151. http://dx.doi.org/10.1163/187501786x00458.

Full text

Abstract:

AbstractA century ago the Rijksprentenkabinet in Amsterdam acquired a 19th-century album containing 56 rapid sketches in black chalk after 17th-century, mostly Dutch paintings (Note 1). The sketches, which are numberd, have the names of the painters wrillen on them in the artist's own hand. They were first published in 1895 (Note 2) by E. W. Moes, who concluded that they were by a Delft artist, and C. Hofstede de Groot, who convincingly attributed them to Leonaert Bramer (1596-1674) and identified two of the paintings in question. Since then various other paintings have been identified (Notes

APA, Harvard, Vancouver, ISO, and other styles

21

Лай, Юеге. "ЖАНР ХУАНЯО і БУКЕТИ БАРОКО: МЕТАМОРФОЗИ БУТТЯ". Art and Design, № 3 (5 грудня 2019): 89–96. http://dx.doi.org/10.30857/2617-0272.2019.3.9.

Full text

Abstract:

The purpose of the study is to identify the figurative and symbolic parallels of the depiction of flowers in the art of China and Europe. Methodology. The study made use of the methods: historical-cultural, comparative, artistic-stylistic, iconological, iconographic. Results. It is shown that in the art of China and Europe, the image of flowers is interconnected with the embodiment of the ideal, beautiful. In our figurative and artistic analysis of the masterpieces of Chinese painting, it is shown that the masters of the “flowers and birds” genre, in the content and form of embodiment, follow

APA, Harvard, Vancouver, ISO, and other styles

22

Damsté, P. H. "De geschiedenis van het portret van Jaspar Schade door Frans Hals1." Oud Holland - Quarterly for Dutch Art History 99, no. 1 (1985): 30–42. http://dx.doi.org/10.1163/187501785x00035.

Full text

Abstract:

AbstractOnly a few weeks after seeing the Frans Hals portrait of Jaspar Schade in the 1962 exhibition in Haarlem, the author came upon it again in the home of Mr. and Mrs. Waller in Utrecht (Figs. 1 and 2, Note I). He learnt that this particular painting had been in Mr. Waller's family for nearly a century and that it was a copy of the one now in Prague. The story was that the latter had been sold by Mr. Waller's grandfather Beukerfrom his country-house 'Zandbergen', which he had bought in 1865, to his friend P.E.H. Praetorius, on condition that the latter had a copy painted as a replacement.

APA, Harvard, Vancouver, ISO, and other styles

23

Kraan, Johannes H. "De particuliere kunstverzameling van H. W. Mesdag." Oud Holland - Quarterly for Dutch Art History 104, no. 3-4 (1990): 305–27. http://dx.doi.org/10.1163/187501790x00156.

Full text

Abstract:

AbstractThere is no lack of literature on Hendrik Willem Mesdag (1831-1915) in his capacity of an art collector. Most of it focuses on the collection in the museum which the painter built in The Hague in 1886 and presented to the nation in 1903 (note 1). Little or no attention has hitherto been paid however to the large collection of fine and decorative art that was kept at the time of Mesdag's death on July 10 1915 in his house, which adjoined the museum. The greater and most important part of this collection was eventually sold in New York in 1920 and thereafter dispersed. It is not known wh

APA, Harvard, Vancouver, ISO, and other styles

24

Ekkart, Rudolf E. O. "De Rotterdamse portrettist Jan Daemen Cool (ca. 1589 -1660)." Oud Holland - Quarterly for Dutch Art History 111, no. 4 (1997): 201–20. http://dx.doi.org/10.1163/187501797x00230.

Full text

Abstract:

AbstractUntil now, the Rotterdam portraitist Jan Daemen Cool was known in the literature only as the maker of a group portrait painted in 1653 of the governors and administrator of the Holy Ghost Hospital at Rotterdam, and of a portrait of Piet Hein, which is dated 1629. Closer scrutiny of his activities reveals that the artist, who never signed his work, was Rotterdam's leading portrait painter in the second quarter of the 17th century. Jan Daemen Cool was born in Rotterdam in 1589 or thereabouts. He may have studied with Michiel Jansz. van Mierevelt in Delft, where he married Agniesje Jasper

APA, Harvard, Vancouver, ISO, and other styles

25

Ewals, Leo. "Ary Scheffer, een Nederlandse Fransman." Oud Holland - Quarterly for Dutch Art History 99, no. 4 (1985): 271–90. http://dx.doi.org/10.1163/187501785x00134.

Full text

Abstract:

AbstractAry Scheffer (1795-1858) is so generally included in the French School (Note 2)- unsurprisingly, since his career was confined almost entirely to Paris - that the fact that he was born and partly trained in the Netherlands is often overlooked. Yet throughout his life he kept in touch with Dutch colleagues and drew part of his inspiration from Dutch traditions. These Dutch aspects are the subject of this article. The Amsterdam City Academy, 1806-9 Ary Scheffer was enrolled at the Amsterdam Academy on 25 October 1806, his parents falsifying his date of birth in order to get him admitted

APA, Harvard, Vancouver, ISO, and other styles

26

Witko, Andrzej. "Still Life in 17th-Century Seville Painting." Roczniki Humanistyczne 66, no. 4 SELECTED PAPERS IN ENGLISH (2019): 175–206. http://dx.doi.org/10.18290/rh.2018.66.4-6e.

Full text

Abstract:

The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 60 (2012), issue 4. Although still nature did not enjoy a lot of prestige as a genre of paining in 17th-century Seville, it still accompanied many scenes that had a religious or secular character. With time, it even gained an autonomous status and some popularity, resulting rather from decorative reasons. It was to be ensured by presenting various objects made by man, but also appetizing articles of food and beautiful, colourful flowers. It was in this convention that, among others, works by Francisco de Zu

APA, Harvard, Vancouver, ISO, and other styles

27

van Eck, Xander, and A. Blankert. "Dutch Classicism in Seventeenth-Century Painting." Simiolus: Netherlands Quarterly for the History of Art 28, no. 1/2 (2000): 75. http://dx.doi.org/10.2307/3780961.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

Kooi, Christine, Erik Larsen, and Jane P. Davidson. "Calvinistic Economy and 17th Century Dutch Art." Sixteenth Century Journal 32, no. 2 (2001): 614. http://dx.doi.org/10.2307/2671845.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Dibbets, Geert R. W. "Dutch philology in the 16th and 17th century." Historiographia Linguistica 15, no. 1-2 (1988): 39–61. http://dx.doi.org/10.1075/hl.15.1-2.04dib.

Full text

Abstract:

Summary Within a hundred years the first Dutch vernacular orthographies and grammars were published in the Netherlands, as contributions to the cultivation of the language. In a number of these books the authors assumed the independence of the several Dutch dialects; in other publications we find the tendency towards a cultivated language, or we see that the authors started from the existence of a Refined Standard Dutch. However that may be the orthographists and grammarians aimed at the cultivation of written and spoken Dutch. Generally the grammarians did not pay much attention to two tradit

APA, Harvard, Vancouver, ISO, and other styles

30

Franits, Wayne, and Mary Frances Durantini. "The Child in Seventeenth-Century Dutch Painting." Art Bulletin 67, no. 4 (1985): 695. http://dx.doi.org/10.2307/3050855.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Hochstrasser, Julie Berger. "Inroads to Seventeenth-Century Dutch Landscape Painting." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek 48, no. 1 (1997): 192–221. http://dx.doi.org/10.1163/22145966-90000158.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Scillia, Diane G., Peter C. Sutton, Christopher Brown, et al. "Masters of Seventeenth Century Dutch Genre Painting." Sixteenth Century Journal 16, no. 4 (1985): 533. http://dx.doi.org/10.2307/2541236.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Davidson, Jane P., and Peter C. Sutton. "Masters of Seventeenth-Century Dutch Landscape Painting." Sixteenth Century Journal 20, no. 4 (1989): 680. http://dx.doi.org/10.2307/2541314.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Hoving, A. J. "A 17th-century Dutch 134-footpinas, Part 1." International Journal of Nautical Archaeology 17, no. 3 (1988): 211–22. http://dx.doi.org/10.1111/j.1095-9270.1988.tb00649.x.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Koltsova, Tatiana Mikhailovna. "Icon-Painting Workshop of the Solovetsky Monastery. 17th - Early 20th Century." Secreta Artis, no. 3 (November 20, 2020): 50–75. http://dx.doi.org/10.51236/2618-7140-2020-3-3-50-75.

Full text

Abstract:

Founded in 1429, the Solovetsky Monastery has throughout several centuries preserved and maintained the traditions of Russian icon painting in the North. In its iconpainting chamber (the building was constructed in 1615), new iconostases were created and icons from the churches of the monastery and patrimonial lands in Pomorie were repaired. In the 17th century, 45 icon painters worked on Solovki in different years, among them were monks, monastery servants, and “trudniks” (lay workers). In the 18th century, the artists of the Pomor patrimonial lands underwent their initial training at the mon

APA, Harvard, Vancouver, ISO, and other styles

36

Gehring (book editor), Ulrike, Pieter Weibel (book editor), and Jane Russell Corbett (review author). "Mapping Spaces: Networks of Knowledge in 17th Century Landscape Painting." Renaissance and Reformation 40, no. 4 (2018): 211–13. http://dx.doi.org/10.33137/rr.v40i4.29288.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Volmert, Miriam. "Mapping Spaces. Networks of Knowledge in 17th Century Landscape Painting." Zeitschrift für Kunstgeschichte 79, no. 2 (2016): 289–94. http://dx.doi.org/10.1515/zkg-2016-0022.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Engelbrecht, Wilken. "Zwermen mensen en véél water – Tsjechen over het Nederlandse landschap." Neerlandica Wratislaviensia 28 (June 26, 2019): 105–18. http://dx.doi.org/10.19195/0860-0716.28.9.

Full text

Abstract:

Swarms of people and lots of water – Czech people on the Dutch landscapeThe paper concerns the image of Dutch scenery in several travel messages of Czech people from the 17th through the 20th centuries. The paper starts with the presentation of two diaries written in the 17th century by the Counts Sternberg and the Protestant Hartmann. One of the first real Czech tourists of the 19th century Josef Štolba is the third author discussed in this study. Then, the paper focuses on the better-known writer Karel Čapek and ends with the discussion of two 20th-century travellers. The paper aims to show

APA, Harvard, Vancouver, ISO, and other styles

39

Paluszek, Przemysław. "Huygens: lost – regained – revised. De literair-historische receptie van Constantijn Huygens in de eerste helft van de 19e eeuw." Neerlandica Wratislaviensia 27 (March 9, 2018): 117–27. http://dx.doi.org/10.19195/8060-0716.27.9.

Full text

Abstract:

Huygens: lost ‒ regained ‒ revised. De literair-historische receptievan Constantijn Huygens in de eerste helftvan de 19e eeuwFrom the beginning of professional Dutch Studies M. Siegenbeek’s inauguration as professor eloquentiae hollandicae extraordinarius, 1797 the 17th century Dutch writers P.C. Hooft and Joost van den Vondel are present in Dutch literary studies and literary historiography. The position of ConstantijnHuygens, whom the contemporary literary scholars also include in the Grote Vijf Great Five of the 17th-century Dutch literature besides Vondel, Hooft, Cats and Bredero, was gra

APA, Harvard, Vancouver, ISO, and other styles

40

Gaivoronsky, Ivan V., Inga A. Goryacheva, and Maria G. Gaivoronskaya. "Frederic Ryusch — the great Dutch anatom of the 17th century." Vestnik of Saint Petersburg University. Medicine 13, no. 1 (2018): 106–12. http://dx.doi.org/10.21638/11701/spbu11.2018.110.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Lisovich, Inna I. "Visual Representation of Scientific Corporations in European Culture of the 17th Century." Observatory of Culture, no. 2 (April 28, 2014): 98–103. http://dx.doi.org/10.25281/2072-3156-2014-0-2-98-103.

Full text

Abstract:

Is devoted to the comparative analysis of visual representations of scientific corporations in European painting and graphic art in the 17th century. The author reveals both organizational principles of scientific institutions and symbolic, cultural, political, scientific and social values which underpinned them.

APA, Harvard, Vancouver, ISO, and other styles

42

Hutchison, Jane Campbell, and Wayne Franits. "Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution." Sixteenth Century Journal 37, no. 2 (2006): 640. http://dx.doi.org/10.2307/20477979.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Kelly, Anthony. "Paul Claudel on the poetry of seventeenth-century Dutch painting." Word & Image 19, no. 3 (2003): 223–29. http://dx.doi.org/10.1080/02666286.2003.10406235.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Baca, Murtha. "DUTCH PRINTER'S DEVICES 15TH-17TH CENTURY. P. van Huisstede , J.P.J. Brandhorst." Art Documentation: Journal of the Art Libraries Society of North America 19, no. 2 (2000): 52–53. http://dx.doi.org/10.1086/adx.19.2.27949090.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Хребтенко, М. С. "ЗОБРАЖЕННЯ ОДЯГУ І АТРИБУТІВ СВЯТИХ В ІКОНОПИСІ ЛІВОБЕРЕЖНОЇ УКРАЇНИ ТА КИЇВЩИНИ ДРУГОЇ ПОЛОВИНИ XVII – ПЕРШОЇ ПОЛОВИНИ XVIII ст." Art and Design, № 2 (21 вересня 2020): 129–46. http://dx.doi.org/10.30857/2617-0272.2020.2.11.

Full text

Abstract:

To identify and analyze ways of depiction of clothing in the iconography of the Left Bank Ukraine and Kyiv region in the second half of the 17th - the first half of the 18th centuries. The author conducted a field exploration of painted icon monuments from the mentioned period in the collections of Ukrainian museums. The data obtained was supplemented with information from published scientific papers and archival sources. The analysis performed made it possible to trace the peculiarities of the depiction of different fabrics in the iconography of the Left Bank Ukraine and Kyiv region in the se

APA, Harvard, Vancouver, ISO, and other styles

46

Duparc, F. J. "Philips Wouwerman, 1619 - 1668." Oud Holland - Quarterly for Dutch Art History 107, no. 3 (1993): 257–86. http://dx.doi.org/10.1163/187501793x00018.

Full text

Abstract:

AbstractPhilips Wouwerman(s) was undoubtedly the most accomplished and successful Dutch painter of equestrian scenes in the 17th century. Even so, neither a critical study of his work nor a documented biography has been published. The present essay not only presents the results of archive research but also outlines his artistic development. Besides the seven dated pictures by the artist known by Hofstede de Groot, several others have been discovered. Wouwerman was born in Haarlem, the eldest son of the painter Pouwels Joosten and his fourth wife, Susanna van den Bogert. Two other sons, Pieter

APA, Harvard, Vancouver, ISO, and other styles

47

Yang, Sujeang. "A Study on Transition of the Embroidered Painting in 17th Century Joseon." Dongak Art History 23 (June 30, 2018): 5–36. http://dx.doi.org/10.17300/dah.2018.23.1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Pepper, D. Stephen, Elizabeth Cropper, and Charles Dempsey. "An Exchange on the "State of Research in Italian 17th-Century Painting"." Art Bulletin 71, no. 2 (1989): 305. http://dx.doi.org/10.2307/3051201.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Pepper, D. Stephen, Elizabeth Cropper, and Charles Dempsey. "An Exchange on the “State of Research in Italian 17th-Century Painting”." Art Bulletin 71, no. 2 (1989): 305–9. http://dx.doi.org/10.1080/00043079.1989.10788502.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

LEE, Hye Seung. "TRADITION OF KOREAN LANDSCAPE. ITS HISTORIC PERSPECTIVE AND INDIGENIZATION." International Journal of Korean Humanities and Social Sciences 2 (November 29, 2016): 49–70. http://dx.doi.org/10.14746/kr.2016.02.04.

Full text

Abstract:

This paper aims to provide general presentation of Korean landscape painting with historic consideration. Some Korean elements of landscape were introduced in the early 5th century, and since the 7th century, mountains have become an important theme in the formation of the image space. From the 10th to the 17th centuries, the Korean landscape developed under Chinese rule. However, in the early 18th century a new painting trend – “Koreanization of the Korean landscape” – appeared and there also had emerged the folk landscape style. Furthermore, in the contemporary Korean landscape there are var

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!