Libros de Artistas modernos, página 28 de 66

La obra pictórica de Hieronymus Bosch: la alegría del cielo y las imaginativamente crueles torturas del infierno. Hasta a los contemporáneos de Hieronymus Bosch (1450-1516) les costó catalogar esta obra imaginativa y aparte y los criticos de hoy siguen estudiandola. Imbuida en la tradicion flamenca, El Bosco desarrollo una obra imaginativa y brillante, entre el terror religiosos y el ingenio del infierno.

Dutch Painting An introduction to the great masters of Dutch painting.Christopher Brown One of a series of introductory books on the great masters and movements in art This volume on the great masters of Dutch painting contains an extensive essay, 48 full-page colour plates, and is accompanied by extensive notes and comparative illustrations Provides incomparable value Highly regarded for its insight and authority The seventeenth century was the Golden Age of Dutch painting, during which political independence and increasing prosperity created a newpatrons of the arts among merchants and statesmen. Rembrandt, Hals and Vermeer, and a host of lesser-known talents, produced a dazzling variety of work, from intimate portraits to virtuoso still lifes, dramatic seascapes to coolly observed domestic interiors. This survey of the period presents a careful selection of paintings which marvellously evoke the spirit of a great age of creativity. Christopher Browns lucid account includes an introduction, extensive commentaries to each of the 48 full-page colour plates, and the numerous black-and-white illustrations by way of comparison.

Constable An introduction to the work of John Constable.John Sunderland One of a series of introductory books on the great masters and movements in art This volume on Constable contains an extensive essay, 48 full-page colour plates, and is accompanied by extensive notes and comparative illustrations Provides incomparable value Highly regarded for its insight and authority No artist has rivalled John Constable (1776-1837) in his powers to express the beauties of the British countryside, especially the scenery of his native East Anglia. He sought above all to make 'pure and unaffected representarions of the scenes', and to this end he made detailed studies of the minutest phenomena of nature. He wrote: 'My limited and abstracted art is to be found under every hedge, and in eveyr lane...'. But this feeling for such qualities had to be reconciled with the traditional - and what were for him the essential - demands of of painting pictures for public exhibition. In this book many of his most famous pictures are reproduced, showing how Constable adjusted the fresh, spontaneous handling of paint in his sketches to mroe formal, academic requirements. John Sunderland's enormously successful survey of the life and work of Constable was first published in 1971. Each full-page colour plate is accompanied by an explanatory text, and over fifty black-and-white illustrations offer comparisons with the paintings.

Los 35 cuadros que nos han llegado de Jan Vermeer (1632-1675) le sitúan, al lado de Rembrandt y Fran Hals, en lo más alto de la época dorada del arte flamenco. La gran mayoría de sus obras (representadas en su totalidad en este libro) reproducen a la mujer desarrollando sus tareas diarias.

Canaletto The definitive monograph on the renowned Old Master painter. J G Links The definitive monograph on Canaletto (1697-1768), one of the most renowned Old Master painters Canaletto is celebrated for his views of Venice, Rome and London, which display both his technical skill and his unrivalled ability to evoke the atmosphere of a scene Explores Canaletto's life and career, relating his art to that of his predecessors, rivals and followers Generously illustrated with paintings, sketches, etchings and manuscripts Canaletto (1697-1768) is one of the most popular of all Old Master painters. His views of Venice, Rome and London are adamantly celebrated and admired across the globe, but he was more than a mere recorder of scenery. In the words of one of his contemporaries, he had the power to paint so that 'the eye is deceived and truly believes it is the real thing it sees'. J G Links' magisterial study was first published in 1982 and immediately became the standard work on the subject, admired both for its comprehensive, meticulous scholarship and for its combination of lucidity and elegance. Fully revised, expanded and redesigned in 1994, with 160 beautifully reproduced colour illustrations, Canaletto is now reissued as a paperback, making this classic work accessible to a new and wider audience. This book embodies the essential introduction to Canaletto's life and work - covering his oeuvre as a whole in great detail and with intense artistic appreciation - while its sophistication and breadth of scope render it an equally rewarding corpus for any connoisseur.

Impressionism An introduction to the masters of the Impressionist movement.Mark Powell-Jones One of a series of introductory books on the great masters and movements in art This volume on the Impressionist movement contains an extensive essay, 48 full-page colour plates, and is accompanied by extensive notes and comparative illustrations Provides incomparable value Highly regarded for its insight and authority The Impressionists developed one of the most innovative movements in the history of Western art. Their revolutionary ideas about light and colour, expression, realism, the aim of painting and the role of the artist, all laid the foundations of modern art. Although ridiculed at first by the art establishment in Europe, Impressionism became one of the most celebrated and popular of art styles, and artists such as Monet, Manet, Pissaro and Renoir have achieved enduring acclaim. Critic Philip Cooper has chosen illustrations to show the diversity of and connections between Impressionist paintings, and has written detailed commentary on each colour plate.

«El primer dinero que gane de forma regular fue trabajando de profesor para la Worker´s Education Association. Por entonces era pintor, y tres tardes a la semana cogía el metro hasta Edgware para hab

Diego Velázquez (1599-1660) es uno de los pintores que hoy consideramos entre los grandes artistas de todas las épocas; con Francisco de Goya y Pablo Picasso compone el trío de los pintores españoles más ilustres. Pero si la fama artística de la que gozaron estos dos últimos en vida se prolongó después de su muerte, no es éste el caso del sevillano. A partir del siglo XVIII, la estrella del pintor de Felipe IV comenzó a declinar y no volvió a brillar hasta su redescubrimiento por parte de los artistas franceses del impresionismo, que lo consideraron un precedente inspirador; tras ellos, a partir de fines del siglo XIX, vendrían los estudios de los historiadores del arte y su apoteosis definitiva. Es evidente que esta circunstancia no sólo se debió al limitado acceso que se tuvo de la mayor parte de su producción, encerrada hasta la fundación del Museo del Prado entre los muros de las residencias reales madrileñas; también fue responsable el propio estilo velazqueño y el género predominante de su producción artística, el retrato, tan íntimamente ligado a su concepción de la pintura. Ese aislamiento -artista privado más que público- también formó parte de la vida y la obra de Velázquez mientras vivió. Pintor del rey desde los veinticuatro años, sus cuadros principales pocas veces salieron de entre los muros del Alcázar, del Buen Retiro, de la Torre de la Parada camino de El Pardo; algunos coleccionistas atesoraron algunas de sus escasas pinturas de historia, de mitología, pero la mayoría de ellas, los retratos, colgaron aislados, privadamente, de los muros de las residencias de sus modelos y sus descendientes. Su estilo tampoco invitó durante muchas décadas a buscar su lección; si a comienzos del siglo XVII su naturalismo retratista era una bandera de modernidad y rebeldía frente a las tradiciones del Renacimiento, el clasicismo que se instauró en el XVIII miró con displicencia lo que para sus creencias no era sino una inadmisible limitación. Y sin embargo, la lucha artística de Velá

This illustrated introduction to Impressionism recounts the story of the Impressionist fellowship, setting artists such as Pissarro, Manet, Degas, Sisley, Cezanne, Monet and Renoir in the context of

ICONOS. SENTIDO E HISTORIA nos muestra la unidad de este arte cuando hombres y procedimientos circulaban libremente desde Rumania hasta Palestina a traves de los nudos de comunicacion que fueron Chipre y Alepo, donde florecio una importante escuela arabe de iconografia. El arte de Mahmoud Zibawi se trasluce en las paginas de este libro a traves de rostros en espera, densidad y, sin embargo, transparencia en la materia.