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A partial bibliography of Dutch painters and their works - covering Cuyp, Dou, Hals, Hobbema, Rembrandt, Ruisdael and Wouwermann (1904) (14579965390)
Summary
Identifier: partialbibliogra00fost (find matches)
Title: A partial bibliography of Dutch painters and their works : covering Cuyp, Dou, Hals, Hobbema, Rembrandt, Ruisdael and Wouwermann
Year: 1904 (1900s)
Authors: Foster, Caroline Katherine
Subjects: Painting, Dutch Theses
Publisher:
Contributing Library: University of Illinois Urbana-Champaign
Digitizing Sponsor: University of Illinois Urbana-Champaign
Text Appearing Before Image:
Emile. Rembrandt. 1894. 2:111-12. (The) geographer, n.d. Albertina. ^ No text Michel, Emile. Rembrandt. 1894. 1:160. Girl with a. broom, abt. 1654. Hermitage, St. Petersburg, Michel, Emile. Rembrandt. 1894. 2:75, 76. .v-or • r •no IJalie • Hi If .4 •sr-rift Good Samaritan. 1640 - 37 - La Farge, Jolin. Rembrandt. (see Mc Oluro, April 1002. 18513.) 1648. Rotterdam museum. 1804. 218-10. Good Samaritan. Study for. n.d. Berlin print room. X Michel, Emilo. Rembrandt. 1804. 2:8.Hannah teaching the child Samuel in the temple. 1648. Bridgewaterhouse.Michel, Emile. Rembrandt. 1804. 2:7. Head. Study of, 1650. Hagne museum. ★No text.Michel Emile. Rembrandt. 1804. 2:214.Head of Christ. abt. 1652. Mr. Rodolphe Kann. ^ No text. Michel,Emile. Rembrandt. 1804. 2:17.Hendriok.ie Stoffels, abt. 1652. Lourve. ** Michel, Emilo. Rembrandt. 1804. 2:68, 60. njf No text. Rensselaer, 1,1. G. van. Old Dutch masters. Rembrandt. (see Century, Dec. 1803,25:161) Good Samaritan. W Michel, Emile. Rembrandt.
Text Appearing After Image:
Hondrickjl Stoffols. - 38 - aDL. lbb8-o(r. national gallery of Scotland. if Michel Emile. . Rembrandt. 1894. 2:73.I^White, J.F. Hendricke Stoffels by Rembrandt. (see Magazine of art,1803, 16:308-09.) Holy family. 1646. Oassel gallery. Michel, Emile. Rembrandt. 1894. 1:300. Holy family. 1645. Hermitage, St. Petersburg. Michel, Emile. Rembrandt. 1894. 1:299. Holy family. 1631. Munich PinacotheXi. Michel, Emile. Rembrandt. 1894. 1:68-70. Hut of the big tree. Blanc, Charles. Grammar of painting & engraving. 1874. p. 210-13. Interior of §_ church, n.d. Albertina. ★Ho text.Michel, Emile. Rembrandt. 1894. 2:52.Jacob, Blessing of. 1656. Oassel gallery.^ Ohamplm, J;D. & Perkins, 0:0. 1 ,CV-l .olii .1:0 , - 30 - Cyclopedia of painters & paintings. 1900. 2:323, 324. Michel, Emile. Rembrandt. 1094. 2:104-05, 223. Jan Hermansz Krul. 1633. Gassel museum. Michel, Emile. Rembrandt. 1394. 1:140-41, 145. Jew merchant. National gallery. ^Portrait of a Jew merchant. (see Portfolio, 1833, 1
By the last decades of the 16th century, the refined Mannerism style had ceased to be an effective means of religious art expression. Catholic Church fought against Protestant Reformation to re-establish its dominance in European art by infusing Renaissance aesthetics enhanced by a new exuberant extravagance and penchant for the ornate. The new style was coined Baroque and roughly coincides with the 17th century. Baroque emphasizes dramatic motion, clear, easily interpreted grandeur, sensuous richness, drama, dynamism, movement, tension, emotional exuberance, and details, and often defined as being bizarre, or uneven. The term Baroque likely derived from the Italian word barocco, used by earlier scholars to name an obstacle in schematic logic to denote a contorted idea or involuted process of thought. Another possible source is the Portuguese word barroco (Spanish barrueco), used to describe an irregular or imperfectly shaped pearl, and this usage still survives in the jeweler’s term baroque pearl. Baroque spread across Europe led by the Pope in Rome and powerful religious orders as well as Catholic monarchs to Northern Italy, France, Spain, Flanders, Portugal, Austria, southern Germany, and colonial South America.