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Volume 1 of 2-volume set. Updated Lippmann, Hofstede de Groot edition, with definitive scholarly apparatus. All portraits, biblical sketches, landscapes, nudes, Oriental figures, classical studies, together with selection of work by followers. Total in set: 550 illustrations. "The 550 reproductions are just plain magnificent." — The New Orleans Picayune.

Brand new gift quality hardcover in jacket First edition, first printing. E47 Please email for photos. Larger books or sets may require additional shipping charges. Books sent via US Postal

Volume 2 of 2-volume set. Updated Lippmann, Hofstede de Groot edition, with definitive scholarly apparatus. All portraits, biblical sketches, landscapes, nudes, Oriental figures, classical studies, together with selection of work by followers. Total in set: 550 illustrations. "The 550 reproductions are just plain magnificent." — The New Orleans Picayune.

Volume 1 of 2-volume set. Updated Lippmann, Hofstede de Groot edition, with definitive scholarly apparatus. All portraits, biblical sketches, landscapes, nudes, Oriental figures, classical studies, together with selection of work by followers. Total in set: 550 illustrations. "The 550 reproductions are just plain magnificent." — The New Orleans Picayune.

Paperback. Two volume set in cardboard case. Cover and spine in good condition. Spine is tight. Pages are clean, no markings, notes or stains. Ships from Friends bookstore to benefit Beaverton (Oregon) library.

Velázquez is often considered an artist apart: great, but isolated in a palace/ museum in Spain. This highly original book sets him in conjunction with certain conditions of painting in his time and after.From the seventeenth century to the twentieth, roughly from Rembrandt and Vermeer to Matisse and Picasso, a succession of European painters has taken the studio as the world; that is, the studio is where the world as it gets into painting is experienced. Svetlana Alpers first focuses on this retreat into the confines of the studio, then looks at the ways in which the paintings of the Dutch masters  and Velázquez acknowledge war and rivalry while offering a way out. The final chapters give a new account of Velázquez’s The Spinners, a ravishing painting which has been eclipsed by interest in the enigmas of Las Meninas. Alpers concentrates on the seventeenth century but also looks back to Velázquez’s predecessors Titian and Rubens and forward to his modern successors. She discusses Velázquez’s resemblance to Manet, whose art also vexes or unsettles, giving us reason to pause and look. The book concludes by asking whether painting continues to do that today.

Maarten Prak charts the political, social, economic and cultural history of the Golden Age through chapters that range from the introduction of the tulip to the experience of immigrants and Jews in Dutch society, the paintings of Vermeer and Rembrandt, and the ideas of Spinoza. He sets the Dutch experience within a European context and examines the extent to which the Golden Age was a product of its own past or the harbinger of the more modern, industrialized and enlightened society of the future. This accessible study will prove invaluable reading to anyone interested in Dutch history.

Set in Rembrandt's Amsterdam, "An Obscure Man" is the story of Nathanaël—innocent, open to experience—born like Everyman upon the stream of life. In "A Lovely Morning," Nathanaël's young son joins a touring company of Jacobean actors. "Anna, soror . . . ," the final tale, is an account of illicit passion in the baroque world of Naples. "An Obscure Man swarms with life. This intricately researched, imaginative, beautifully written tale of a young man's brief life in the mid-17th century is entirely engrossing."—Leona Weiss, San Francisco Chronicle "In these three stories, [Yourcenar] succeeds in making the essences of these past lives a part of the reader's future through the sheer intensity of their portrayal."—Margaret Ezell, Houston Chronicle

Volume IV of A Corpus of Rembrandt Paintings deals uniquely with the self-portraits of Rembrandt. In a clearly written explanatory style the head of the Rembrandt Research Project and Editor of this Volume, Ernst van de Wetering, discusses the full body of work of paintings and etchings portraying Rembrandt. He sets the different parameters for accepting or rejecting a Rembrandt self-portrait as such, whilst also discussing the exact working environment of Rembrandt and his apprentices. This workshop setting created a surroundings where apprentices could be involved in working on Rembrandt paintings making it more difficult to determine the hand of the master. Van de Wetering, who is one of the Rembrandt experts of our day and age, goes down to great detail to explain how the different self-portraits are made and what techniques Rembrandt uses, also giving an overview of which paintings are to be attributed to the Dutch Master and which not. In the additional catalogue the self-portraits are examined in detail. In clear and accessible explanatory text the different paintings are discussed, larded with immaculate images of each painting. Details are shown where possible, as well as the results of modern day technical imaging like X-radiography. This work of art history and art research should be part of every serious art historical institute, university or museum. Nowhere in the art history have all Rembrandt’s self portraits been discussed in such detailed and comparative manner by an authority such as Ernst van de Wetering. This is a standard work for decades to come.

Set in one day in 1632, The Anatomy Lesson is a stunning portrayal of Golden Age Amsterdam and a brilliantly imagined back-story to Rembrandt's first great work of art. Told from several points of view, ranging from a curio dealer who collects bodies for the city’s chief anatomist to philosopher Rene Descartes, the novel opens on the morning of the medical dissection that is to be recorded by the twenty-six-year-old artist from Leiden who has yet to attach his famous signature to a painting.  As the story builds to its dramatic and inevitable conclusion, the events that transpire throughout the day sway Rembrandt to make fundamental changes to his initial composition. These changes will remain mysteries for centuries until a young art historian closely examines the painting in the twenty-first century, and makes surprising discoveries about the painter, his process, and his genius for capturing enduring truths about human nature in a single moment.

Maarten Prak charts the political, social, economic and cultural history of the Golden Age through chapters that range from the introduction of the tulip to the experience of immigrants and Jews in Dutch society, the paintings of Vermeer and Rembrandt, and the ideas of Spinoza. He sets the Dutch experience within a European context and examines the extent to which the Golden Age was a product of its own past or the harbinger of the more modern, industrialized and enlightened society of the future. This accessible study will prove invaluable reading to anyone interested in Dutch history.