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Elevate your wardrobe with this Dove Crewneck from Jan-Jan VAN Essche. Featuring dropped shoulders, long sleeves, and a regular fit, this top is perfect for the modern man.

Elevate your style with this Jan-Jan VAN Essche tunic for men. Featuring a white stand collar, V-neck, dropped shoulders, side button closure, side pockets, and back box pleat. Model is 187 cm tall, with a chest of 87 cm, waist of 69 cm, and hips of 91 cm.

Jan van Eyck steht fur einen Neubeginn innerhalb der Kunstgeschichte des Abendlands, wie er radikaler kaum zu denken ist: Der Kunstler wendet sich der sichtbaren Wirklichkeit zu und entwickelt kunstlerische Mittel, um sie moglichst wirklichkeitsgetreu auf die Leinwand, respektive Tafel zu bringen. Das Buch versucht, dem Kunstler so weit wie irgend moglich zu folgen, sich von ihm leiten, den Blick von ihm lenken zu lassen. Es regt an zu einem sensiblen Umgang mit den Zeichen, die das Bild enthalt, das nicht etwa immer schon Gewusstes bestatigen, sondern den Betrachter uberraschen und mit Neuem konfrontieren will. So gelangt der Betrachter, indem er mit wachem, zugleich kritischem Auge den Hinweisen des Kunstlers folgt, immer tiefer in das Bild hinein, weit uber die blosse Identifizierung von Szene und Figuren hinaus. Am Ende sieht er auf der Bildtafel, was in der Wirklichkeit nicht zu sehen ware, und versteht, worum es eigentlich geht: um die Teilhabe an einer Vision, an einer 'Betrachtung' im mehrfachen Wortsinn."

A remarkably versatile man, Jan van der Heyden (1637-1712) was the preeminent painter of cityscapes in the Netherlands and the first artist to capture all the beauty of the urban scene. Notwithstanding his achievements as an artist, Van der Heyden was even more famous in his own time as an inventor and engineer: he invented firefighting equipment that set the standard throughout Europe for two centuries, and he perfected the streetlamp. This is the first book in English devoted to Van der Heyden. It includes recent discoveries about his fascinating life and offers an introduction to his ravishing art.The book includes a general discussion of Van der Heyden’s work, entries on 40 of his paintings, illustrations of about 100 of his paintings, as well as supplemental drawings and prints. Focusing mainly on the bustling city of Amsterdam, he also recorded other Dutch, Flemish, and German cities with a brilliant palette and exceptionally detailed technique. Often innovative in his composition, he was the first artist to create imaginary scenes by rearranging existing city views and known buildings.

A remarkably versatile man, Jan van der Heyden (1637-1712) was the preeminent painter of cityscapes in the Netherlands and the first artist to capture all the beauty of the urban scene. Notwithstanding his achievements as an artist, Van der Heyden was even more famous in his own time as an inventor and engineer: he invented firefighting equipment that set the standard throughout Europe for two centuries, and he perfected the streetlamp. This is the first book in English devoted to Van der Heyden. It includes recent discoveries about his fascinating life and offers an introduction to his ravishing art.The book includes a general discussion of Van der Heyden’s work, entries on 40 of his paintings, illustrations of about 100 of his paintings, as well as supplemental drawings and prints. Focusing mainly on the bustling city of Amsterdam, he also recorded other Dutch, Flemish, and German cities with a brilliant palette and exceptionally detailed technique. Often innovative in his composition, he was the first artist to create imaginary scenes by rearranging existing city views and known buildings.

Jan van Eyck steht fur einen Neubeginn innerhalb der Kunstgeschichte des Abendlands, wie er radikaler kaum zu denken ist: Der Kunstler wendet sich der sichtbaren Wirklichkeit zu und entwickelt kunstlerische Mittel, um sie moglichst wirklichkeitsgetreu auf die Leinwand, respektive Tafel zu bringen. Das Buch versucht, dem Kunstler so weit wie irgend moglich zu folgen, sich von ihm leiten, den Blick von ihm lenken zu lassen. Es regt an zu einem sensiblen Umgang mit den Zeichen, die das Bild enthalt, das nicht etwa immer schon Gewusstes bestatigen, sondern den Betrachter uberraschen und mit Neuem konfrontieren will. So gelangt der Betrachter, indem er mit wachem, zugleich kritischem Auge den Hinweisen des Kunstlers folgt, immer tiefer in das Bild hinein, weit uber die blosse Identifizierung von Szene und Figuren hinaus. Am Ende sieht er auf der Bildtafel, was in der Wirklichkeit nicht zu sehen ware, und versteht, worum es eigentlich geht: um die Teilhabe an einer Vision, an einer 'Betrachtung' im mehrfachen Wortsinn."

Alex Van der Horst. Alejandro PINO ABETO ALEM N Y PALOSANTO 1988Year 1997Top SpruceBack & Sides Rio RosewoodScale Length 650 mmNut width 52 m...

127 S. Ein gutes und sauberes Exemplar. - Zeichnung als Struktur - Caspar David Friedrich. Kornelia von Berswordt-Wallrabe -- Johan Christian Dahl. Sidsel Helliesen -- Caspar David Friedrich und Johan Christian Dahl. Aspekte künstlerischer Positionen im Zeitalter der Romantik. Kornelia Räder. ISBN 9783861060673 Sprache: Deutsch Gewicht in Gramm: 550 Mit zahlr. auch farb. Abb. Originalbroschur.

Pieter Bruegel the Elder, his sons Pieter the Younger and Jan Brueghel the Elder: for several generations, the Flemish family of painters enraptured the collectors of sixteenth and seventeenth-century Europe. The Alte Pinakothek, one of the most important museums in the world, here presents its fascinating and varied Brueghel collection.

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Pieter Bruegel the Elder, his sons Pieter the Younger and Jan Brueghel the Elder: for several generations, the Flemish family of painters enraptured the collectors of sixteenth and seventeenth-century Europe. The Alte Pinakothek, one of the most important museums in the world, here presents its fascinating and varied Brueghel collection.

First published in 1993, Jan van Eyck's Arnolfini Portrait: Stories of an Icon examines one of the earliest and most celebrated paintings in the history of European art from a variety of perspectives. In her lucid analysis, Linda Seidel considers this famous double portrait as social record, legal document, material object, and poetic fiction. Each chapter of her study represents a distinct mode of inquiry and each situates the painting within a different discursive tradition. In this way, Seidel explores a variety of historical practices to illuminate the portrait's painted narrative. Through the implementation of a variety of interpretive strategies and in consultation with different types and categories of information, Stories of an Icon informs the viewer about the function and nature of early European painting, and invites the reader to reflect on the many ways in which works of art can be examined and reconfigured centuries after their creation.

Renaissance realist   The Arnolfini Portrait, depicting the wedding of a young couple, is one of the most famous paintings of the Early Renaissance. With its unprecedented precision and masterful use of color (down to the most minute details reflected in the background mirror), the painting is a testament to the mastery of Flemish painter Jan van Eyck (c. 1390-1441), leader of the Early Netherland School. Though he cannot be credited, as many have claimed, as the inventor of oil painting, his use of the medium was highly innovative, allowing for great intensity and depth of color. Often imitated but never equaled, van Eyck left an indelible impression on Renaissance art and paved the way for future realist painters.   About the Series: Each book in TASCHEN’s Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

Jan van Doesborgh, Printer at Antwerp - An Essay in Bibliography is an unchanged, high-quality reprint of the original edition of 1894. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.

This product is not a traditionally bound book. Many ProQuest UMI products are black-and-white reproductions of original publications produced through the Books On Demand ® program. Alternately, this product may be a photocopy of a dissertation or it may be a collection reproduced on microfiche or microfilm if it is intended for library purchase.

First published in 1993, Jan van Eyck's Arnolfini Portrait: Stories of an Icon examines one of the earliest and most celebrated paintings in the history of European art from a variety of perspectives. In her lucid analysis, Linda Seidel considers this famous double portrait as social record, legal document, material object, and poetic fiction. Each chapter of her study represents a distinct mode of inquiry and each situates the painting within a different discursive tradition. In this way, Seidel explores a variety of historical practices to illuminate the portrait's painted narrative. Through the implementation of a variety of interpretive strategies and in consultation with different types and categories of information, Stories of an Icon informs the viewer about the function and nature of early European painting, and invites the reader to reflect on the many ways in which works of art can be examined and reconfigured centuries after their creation.

The surviving work of Flemish painter Jan van Eyck (c. 1395–1441) consists of a series of painstakingly detailed oil paintings of astonishing verisimilitude. Most explanations of the meanings behind these paintings have been grounded in a disguised religious symbolism that critics have insisted is foremost. But in Jan van Eyck, Craig Harbison sets aside these explanations and turns instead to the neglected human dimension he finds clearly present in these works. Harbison investigates the personal histories of the true models and participants who sat for such masterpieces as the Virgin and Child and the Arnolfini Double Portrait.This revised and expanded edition includes many illustrations and reveals how van Eyck presented his contemporaries with a more subtle and complex view of the value of appearances as a route to understanding the meaning of life.

The Antwerp artist Jan van Kessel the Elder (1626-1679) was esteemed throughout Europe for producing finely-wrought, miniature paintings on copper that depict a wide range of flora and fauna, exotic landscapes, and objects of natural artistry (e.g. shells, coral, precious stones). The 'natural' world presented in Van Kessel's art was not a transparent window onto nature, however, but instead was ambitiously crafted through the artist's reappropriation of Antwerp's artistic traditions, material culture, and artisanal knowledge practices. Through a combination of wit, technical virtuosity, self-referentiality, and allusions to local art-historical lineage, Van Kessel's paintings encourage viewers to simultaneously think about art, in terms of collecting, connoisseurship, citation, and media, and think anew about nature. This study uses Van Kessel's art as a distinctive lens through which to examine the relationship between craft, curiosity, and the pursuit of natural knowledge in the early modern period. Each chapter situates Van Kessel within a particular context where art and natural history intersected in late seventeenth-century Antwerp. Taken together, these investigations reveal how his production responded to a unique convergence of circumstances in that city which included the growth of a popular, commercial strand of natural history, a thriving culture of art collecting and connoisseurship focused on local artists, and a burgeoning luxury industry. Van Kessel's material and conceptual interventions into the representation of nature, such as his innovative, painted cabinets without drawers and witty signatures formed from insects and snakes, enabled him to redefine the scope of natural historical illustration and negotiate the value and status of the small-format cabinet picture.

I. Examining Jan van Eyck: Key Works Catherine Reynolds, London: 'The King of Painters'. Lorne Campbell, The Nationale Gallery, London: The Arnolfini Double PotraitUta Neidhart and Christoph Schzel, Gemaldegalerie, Dresden: The Dresden TriptychRachel Billinge, Helene Verougstraete and Roger Van Schoutte, The National Gallery, London and University of Louvain-la-Neuve: The Saint BarbaraPhilippe Lorentz, Musee du Louvre, Paris: The Rolin Virgin and ChildMelanie Grifford, National Gallery of Art, Washington DC, Assessing the Evolution of van Eyck's Iconography through Technical Study of the Washington Annunciation ICarol Purtle, University of Memphis: Assessings the Evolution of van Eyck's Iconography through Technical Study of the Washington Annunciation II: New Light on the Development of van Eyck's Architectural Narrative II. Van Eyck's Working Methods L. Dierick, Ghent: Jan van Eyck's Handwriting Rachel Billinge, The National Gallery, London: Examining Jan van Eyck's Underdrawings. Ashok Roy The National Gallery, London: Van Eyck's Technique: The Myth and the Reality I Raymond White, The National Gallery, London: Van Eyck's Technique: The Myth and the Reality IIHelene Verougstraete and Roger Van Schoute, University of Louvain-la-Neuve: Van Eyck's FramesIII. Jan Van Eyck: Contemporary Sources and Imagery John Steyaert, University of Minnesota, Minneapolis: The van Eyck's and Sculpture Margaret Scott, Leicester: Dress in van Eyck's Paintings IV. The Legacy of Jan van EyckNoel Geirnaert, Stadsarchief, Bruges: Anselm Adornes and his Daughters: Owners of Two Paintings of Saint Francis by Jan van Eyck?Paula Nuttall, London: Jan van Eyck's Painting in ItalyStephanie Buck, Freie Universitat Berlin: An Approach to Looking at Eyckian DrawingsSusan Jones, The Art Institute of Chicago: The Use of Workshop Drawings by Jan van Eyck.

This book celebrates the reunion― for the first time in twenty-four years and only the second time in their history―of two masterpieces of early Netherlandish painting commissioned by the Carthusian monk Jan Vos during his tenure as prior of the Charterhouse of Bruges in the 1440s: The Frick Collection’s Virgin and Child with St. Barbara, St. Elizabeth, and Jan Vos, commissioned from Jan van Eyck and completed by his workshop; and the Gemäldegalerie’s Virgin and Child with St. Barbara and Jan Vos, painted by Petrus Christus. These panels are examined with a selection of objects that place them for the first time in the rich Carthusian context for which they were created. Drawing on recent technical examination and new archival research, this volume explores the panels’ creation, patronage, and function in their rich Carthusian context.The Carthusian order was one of the most austere strands of late medieval monasticism. In apparent contradiction to this asceticism, Carthusian monasteries became remarkable repositories of art, a material accumulation often attributed to lay patronage. However this explanation overlooks the ways in which the Carthusians themselves commissioned and used images for their daily devotions and liturgy, as well as their commemoration. The story of Jan Vos and his patronage of Jan van Eyck and Petrus Christus fundamentally informs our understanding of the role played by images in shaping monastic life and funerary strategies in late medieval Europe.