Pictor doctus knowledge workshop (17 résultats)

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First Edition. 28 x 21 cm 279 pp with colour and b&w illlustrations throughout. Wrappers with flaps, fine copy.

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Etat : Nuovo. Bross., cm 28x21,5, pp 279, molte tavv. e ill. a col. - ISBN: 9782503589084.

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Etat : New. 2022. Bilingual. Paperback. . . . . .

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Etat : New. Bilingual edition NO-PA16APR2015-KAP.

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Etat : gut. Pictor Doctus, between Knowledge and Workshop. Artists, Collections and Friendship in Europe, 1500-1900 In deutscher Sprache. pages.

Paperback, 279 pages, Size:216 x 280 mm, Illustrations:11 b/w, 70 col., Language(s):English, Spanish. ISBN 9782503589084. Summary Recent research on the collections treasured by artists during their lifetime, or those collections they had access to, has contributed significantly to the understanding of their own compositions. Traditional historiography has favoured the study of the royal and aristocratic collections that could have inspired artists rather than of the artists' own collections. Only those of the 'great' artists, such as Rubens, Bernini, Velázquez or Mengs, have been comprehensively examined. In the eighteenth century, the notion of collecting itself was transformed. An aesthetic taste was fostered and developed through the gathering of objects, and the personal collection of an artist could therefore provide the key to a more thorough understanding of their production. The nineteenth century witnessed artists bequeathing their collections to different institutions, sometimes even creating their own institutional collection. Architects, painters, sculptors and goldsmiths assembled some of the most important artistic collections of their time in their workshops. TABLE OF CONTENTS Introduction. The Pictor Doctus and the Artists' Collections: From Taste to a Training Resource ? Ana Diéguez-Rodríguez & Ángel Rodríguez Rebollo I. Learning from the Artistic Collections, Libraries and Workshops Pablo de Céspedes, arte y humanismo en su biblioteca. Una nueva propuesta de interpretación en torno a su colección bibliográfica ? Alejandro Jaquero-Esparcia Bernardino Poccetti as Collector ? Alexander Röstel & Grant Lewis ?Ha muerto Rubens? El eco de su colección en el rey de España ? Matías Díaz Padrón Francisco de Solís, Collector of Drawings ? Ángel Rodríguez Rebollo & Isabel García-Toraño II. Coteries: The Role of the Friendship and the Academies Vicente Carducho's Modelling of Artistic Practice and Connoisseurship ? Tiarna Doherty Between Guild and Academy: Collections of Central European Painters as a Source of Artistic Progress or a Steady Livelihood? ? Tomá? Vale? French Barbizon Landscapes Collected by Pre-Raphaelite and Aesthetic Movement Artists in the second half of the Nineteenth Century ? Sarah Herring Women Painters and Academicians: Models and Collections ? Mariángeles Pérez-Martín III. Artists at the Court: Experience and Erudition Court Institutions and their Impact on Artworks by the valet de chambre Artists Serving at the Valois-Burgundian Court during the Fifteenth Century ? Oskar Rojewski Velázquez and the Royal Collection. Opening the Pandora's Box ? Miguel Hermoso Cuest Index of Names 0 g.…

Brossura. Etat : nuovo. Ana Diéguez, Angel Rodriguez Rebollo (eds). Pages: 279 p. Illustrations:11 b/w, 70 col. Language(s):English, Spanish. Brepols, Publication Year:2022. NEW. paperback - SUMMARY Recent research on the collections treasured by artists during their lifetime, or those collections they had access to, has contributed significantly to the understanding of their own compositions. Traditional historiography has favoured the study of the royal and aristocratic collections that could have inspired artists rather than of the artists' own collections. Only those of the 'great' artists, such as Rubens, Bernini, Velázquez or Mengs, have been comprehensively examined. In the eighteenth century, the notion of collecting itself was transformed. An aesthetic taste was fostered and developed through the gathering of objects, and the personal collection of an artist could therefore provide the key to a more thorough understanding of their production. The nineteenth century witnessed artists bequeathing their collections to different institutions, sometimes even creating their own institutional collection. Architects, painters, sculptors and goldsmiths assembled some of the most important artistic collections of their time in their workshops. TABLE OF CONTENTS Introduction. The Pictor Doctus and the Artists' Collections: From Taste to a Training Resource Ana Diéguez-Rodríguez & Ángel Rodríguez Rebollo I. Learning from the Artistic Collections, Libraries and Workshops Pablo de Céspedes, arte y humanismo en su biblioteca. Una nueva propuesta de interpretación en torno a su colección bibliográfica Alejandro Jaquero-Esparcia Bernardino Poccetti as Collector Alexander Röstel & Grant Lewis "Ha muerto Rubens". El eco de su colección en el rey de España Matías Díaz Padrón Francisco de Solís, Collector of Drawings Ángel Rodríguez Rebollo & Isabel García-Toraño II. Coteries: The Role of the Friendship and the Academies Vicente Carducho's Modelling of Artistic Practice and Connoisseurship Tiarna Doherty Between Guild and Academy: Collections of Central European Painters as a Source of Artistic Progress or a Steady Livelihood? Tomá Vale French Barbizon Landscapes Collected by Pre-Raphaelite and Aesthetic Movement Artists in the second half of the Nineteenth Century Sarah Herring Women Painters and Academicians: Models and Collections Mariángeles Pérez-Martín III. Artists at the Court: Experience and Erudition Court Institutions and their Impact on Artworks by the valet de chambre Artists Serving at the Valois-Burgundian Court during the Fifteenth Century Oskar Rojewski Velázquez and the Royal Collection. Opening the Pandora's Box Miguel Hermoso Cuest Index of Names.…