El altar de Gante es considerado una de las más importantes obras de arte de finales de la Edad Media. En él se combinan un simbolismo de gran complejidad y un fascinante naturalismo, que estableció nuevas pautas estéticas a partir del siglo XV. En este estudio se analizan los significados simbólicos y ocultos en la obra y se interpretan las novedades desde el punto de vista de la historia del arte.
Vermeer's women, their duties and unspoken dreams The 35 paintings that have come down to us from the hand of Jan Vermeer (1632-1675) place him beside Rembrandt and Frans Hals as one of the great masters of the golden age of Dutch art. Little is known of Vermeer's early life and training, though we can be certain that he never knew great success or acclaim during his lifetime, and after his death—reputedly in part because of the stress of his debts—his work was almost completely forgotten for the best part of two centuries. And yet today he is acknowledged as an exquisitely talented and highly original artist. Most of his pictures (all of which are reproduced in this book) show middle-class women about their daily business. Vermeer records the tasks and duties of these women, the imperatives of virtue under which their lives were lived, while also evoking their dreams and their contrasting inner worlds.
Most of Jan Vermeer's pictures, reproduced in this text, show women about their daily business. Vermeer records the tasks and duties of women, the imperatives of virtue under which their lives were lived, and the dreams that provided the substance of their contrasting counter-world.
Obwohl es nur 35 Bilder umfasst, nimmt das Œuvre von Johannes Vermeer (1632–1675) in der Kunstgeschichte eine einzigartige Stellung ein. Es inspirierte einen New York Times -Bestseller und einen Film mit Scarlett Johansson und zieht regelmäßig Heerscharen von Besuchern zu Ausstellungen zwischen Amsterdam und Washington an. Vermeers Figuren verrichten alltägliche Handlungen: Sie schreiben Briefe, spielen ein Instrument oder arbeiten in der Küche. Die Szenen erstaunen durch ihre Liebe zum Detail , den betörenden Lichteinfall sowie das Talent des Künstlers, narrative Intrigen anzudeuten. In so bekannten Bildern wie Stehende Virginalspielerin , Briefschreiberin und Dienstmagd sowie dem berühmten Mädchen mit dem Perlenohrring , dem Porträt eines Mädchens mit hellwachen Augen, geht es Vermeer nicht nur um Stoffe und Materialien, sondern auch um die vielen Geschichten und Geheimnisse, die unter der Oberfläche lauern. Dieser Band führt mit verständlichen Texten in das Werk Vermeers ein und erkundet dessen einzigartige Begabung, ein Ölgemälde wie eine lebendige Szene menschlichen Alltags erscheinen zu lassen.
The still life, the most primordial of painting subjects, had its peak between the late Middle Ages and the 17th century. In this book, Norbert Schneider explores the still life insights into changes of mentality and philosophy as well as its role in the history of scientific discoveries and the gradual replacement of the medieval concept of the world.
This account of portraiture sets out to analyze some of the major works of the period from the late Middle Ages to the 17th century. It takes a close look at 50 major works, including paintings by Jan Van Eyck, Holbein the Younger, Raphael, Mantegna and Botticelli.
Die dem Schwerpunktthema des Bandes gewidmeten Beitrage befassen sich vorwiegend mit der anfangs haufig nur partiell politischen Inkubationsphase von 1968 in unterschiedlichen kulturellen und akademischen Bereichen und von der Literaturtheorie uber Ansatze in der Kunstvermittlung bis hin zu zunehmend programmatischer werdenden Konzeptionen in Zeitschriften, Kunstvereinen, Galerien und Museen.
Bilingual edition (English/German) / Zweisprachige Ausgabe (deutsch/englisch) Norbert Wagenbrett studied at Leipzig University, which had been dominated for decades by the art concepts of Werner Tübke, Bernhard Heisig and Wolfgang Mattheuer. This “intellectual painting” was a fertile basis for the artist´s portraits of people, which were also rooted in the New Objectivity and the verism of the nineteen-twenties and nineteen-thirties. However, Wagenbrett is concerned with the present day, fervently seeking people’s unknown faces behind their everyday masks. With his highly disciplined and delicate painting technique, he expertly succeeds in making what is characteristic about his models, and their so-called “inner life,” visible. I approach people and look for their dreams and find their fears, discover degrees of similarity, see portraits. They are portraits of these particular people, infinitely unique, incomparable with any other object in the world, and yet in everyday public life the faces seem to resemble each other, to blend into one and to merge, in the same way as thoughts, which are no longer one’s own. Norbert Wagenbrett
