Brosens K (15 results)

paperback. Condition: New. 1st.

Condition: New. 2004. Paperback. . . . . .

Condition: New. 2004. Paperback. . . . . . Books ship from the US and Ireland.

Condition: UsatoBuono. Ril. carton., cm 30x25, pp 213, 15 tavv con numer. ill. a colori, numer. ill. b/n. - ISBN: 9782503521749.

Hardcover. Condition: Brand New. 399 pages. 10.25x7.00x1.25 inches. In Stock.

Condition: gut. Contextual Study of Brussels Tapestry, 1670-1770. The Dye Works and Tapestry Workshop of Urbanus Leyniers (1674-1747). In deutscher Sprache. pages.

Condition: gut. Embracing Brussels, Art and Culture in the Court City, 1600-1800. Brussel. In deutscher Sprache. pages.

Condition: gut. Tapestry Production & Conservation : 125 Years De Wit Royal Manufacturers of Tapestry In englischer Sprache. pages.

Condition: gut. subjects from history. III. The Constantine Series, Corpus Rubenianum Ludwig Burchard part XIII subjects from history. volume 3. In englischer Sprache. pages.

Paperback, original wrappers with illustrated dust-jacket in color, 26x18cm., 276pp, illustrated b/w, as new/ als nieuw!!! ISBN 9065699287. Koninklijke Academie voor Wetenschappen, Letteren en Schone Kunsten van Belgie. Verhandelingen Nieuwe Reeks, n° 13. 1240 g.

Paperback, 280 pages., 120 b/w ill., CD, 210 x 297 mm, Languages: English. ISBN 9782503542287. It would appear that Flemish Baroque has come to be regarded as synonymous with Antwerp Baroque. The aim of this publication on art and art production in Brussels in the period 1600?1800 is to reconsider the art-historical position of Brussels as a major hub of activity and place of residence for courtiers and artists alike. Attention will focus on matters as diverse as literature, music, housing, and the guild system, besides which aspects of the art trade, style differentiation and case studies relating to individual artists will be discussed. In the seventeenth and early eighteenth centuries, the Habsburg Court was viewed as the supreme creative centre, where systems of symbols were forged and propagated that were designed to display both the artist?s craftsmanship and the ruler?s piety. I. The Context of The City, Veerle De Laet, At home in seventeenth-century Brussels. Patterns of art and luxury consumption, Harald Deceulaer, Fashion, innovation and regional distribution. The clothing trades in Brussels, sixteenth?eighteenth centuries, Karel Porteman, A few literary-historical vedute of seventeenth-century Brussels, Maartje De Wilde, De lokroep van de nachtegaal: wereldlijke liedboeken uit het zeventiende-eeuwse Brussel. II. Art Production 0 g.…

324 p., 200 col. ills, 240 x 300 mm, English, Hardcover, . ISBN 9781909400528. This volume demonstrates the variety of ways in which ongoing research and the development of new technology can serve to revive the splendour of fragile tapestries kept in European and American museums. Supported by dozens of magnificent illustrations, this volume demonstrates the variety of ways in which ongoing research and the development of new technology can serve to revive the splendour of fragile tapestries kept in European and American museums. As the Royal Manufacturers of Tapestry, De Wit has been a leading force in undertaking the most pioneering and impressive restoration and conservation campaigns for more than a century. The enterpreneurial and artistic strategies that marked the beginning and subsequent development of De Wit, are extensively discussed in the first part of this book. Koenraad Brosens provides an in-depth analysis of the roles played by the three directors of the Royal Manufacturers ? from founding father Theophiel De Wit, to Gaspard De Wit, to current director Yvan Maes De Wit. Each of these individuals? choices have been closely linked to the increasingly rapid and significant developments in the European and American tapestry landscapes. The second part of this volume, by Yvan Maes De Wit, surveys the most pioneering and impressive restoration and conservation campaigns undertaken by the Royal Manufactory. Through its original and creative scope of investigation, this book aims to make an invaluble contribution to art-historical discussion and research on nineteenth- and twentieth-century tapestry production, restoration and conservation. 0 g.…

Hardback 400 pages ., 180 x 265 mm, Languages: English, ISBN 9781905375868. In 1622, Rubens designed his second tapestry series, The Story of Constantine, for which he executed twelve oil sketches, all of which are currently preserved in public and private collections in America and Europe. Tapestries produced after the lost cartoons, which were in turn painted after the oil sketches, were woven in the tapestry factories in the faubourgs of Saint Marcel and Saint Germain in Paris. Based on new archival research and a critical examination of the literature on the Constantine series, this book firmly embeds the genesis, and iconographical and stylistic features of the set in its specific artistic, manufactural, and commercial matrix, and thus develops the first truly inclusive approach to Rubens's Story of Constantine. Analysis of the entrepreneurial strategy of Marc Comans and Francois de la Planche, directors of the factory in the faubourg of Saint Marcel, the correspondence between Rubens and Peiresc, the provenance of the twelve oil sketches, and the iconographical programme reveals that the series was not commissioned by the French king Louis XIII, as has long been believed, but by Comans and de la Planche. A close reading of Rubens?s primary literary source, Caesar Baronius?s Annales Ecclesiastici, shows that the artist must have intended the twelve scenes to hang in a sequence different from the generally accepted one, though seventeenth-century buyers and viewers could have seen and interpreted the Constantine series quite differently, as their view was distorted by the jumble of Constantinian legends and motifs that had lodged in the cultural memory of Latin Christianity. Finally, the book explores the area of tension between the set?s austere monumentality and highly sophisticated aesthetic, which was rooted in Rubens?s profound knowledge of classical and Renaissance art and in his earlier forays into the free and creative application of these sources, contemporary French and Brussels tapestry sets, and the pictorial and decorative qualities, possibilities and challenges inherent in the medium itself 0 g. …

Couverture souple. Condition: As New. Dust Jacket Condition: As New. Edition originale. Museums at the Crossroads (MAC) Family Ties Art Production and Kinship Patterns in the Early Modern Low Countries K. Brosens, L. Kelchtermans, K. Van der Stighelen (eds.) 239 p., 150 b/w ill., 210 x 297 mm, 2012 ISBN: 978-2-503-54227-0 Languages: English Paperback The publication is available. Retail price: EURO 98,00.- Table of Contents: Hessel Miedema, Kinship and Network in Karel van Mander; Axel Marx, Why Social Network Analysis Might Be Relevant for Art Historians: a Management Perspective; Koenraad Brosens, Can Tapestry Research Benefit from Economic Sociology and Social Network Analysis?; Neil De Marchi and Hans J. Van Miegroet, Uncertainty, Family Ties and Derivative Painting in Seventeenth-Century Antwerp; Rudi Ekkart, Dutch Family Ties: Painter Families in Seventeenth-Century Holland; Brecht Dewilde, On Noble Artists and Poor Painters: Networking Artists in Renaissance Bruges; Natasja Peeters, From Nicolaas to Constantijn: the Francken Family and their Rich Artistic Heritage (c. 1550¿1717); Miroslav Kindl, The De Herdt (De Harde) Family in the Service of Emperor Leopold in Vienna; Nils Büttner, Rubens & Son; Jeremy Howarth, The Steenwyck Paintings, Products of Family Enterprise; Hans Vlieghe, Going their Separate Ways: the Artistic Inclinations and Paths of David Teniers I, II and III; Prisca Valkeneers, Justus van Egmont (1602¿1674) and his Workshop in Paris; Bert Timmermans, ¿Siet wat een vrucht dat baert hen kercken te vercieren¿. Family, Agency and Networks of Patronage: towards a Mapping of the Revival of the Family Chapel in Seventeenth-Century Antwerp; Alison Stoesser, Lucas and Cornelis de Wael: their Family Network in Antwerp and Beyond language : english text Size: 210 X297 Mm.…

Couverture rigide. Condition: As New. Dust Jacket Condition: As New. Edition originale. Rubenianum Ludwig Burchard (HMCRLB) K. Brosens Subjects from History: The Constantine Series 400 p., 180 x 265 mm, 2011 ISBN: 978-1-905375-86-8 Languages: English Hardback The publication is available. Retail price: EUR 185,00 In 1622, Rubens designed his second tapestry series, The Story of Constantine, for which he executed twelve oil sketches, all of which are currently preserved in public and private collections in America and Europe. Tapestries produced after the lost cartoons, which were in turn painted after the oil sketches, were woven in the tapestry factories in the faubourgs of Saint Marcel and Saint Germain in Paris. Based on new archival research and a critical examination of the literature on the Constantine series, this book firmly embeds the genesis, and iconographical and stylistic features of the set in its specific artistic, manufactural, and commercial matrix, and thus develops the first truly inclusive approach to Rubens¿s Story of Constantine. Analysis of the entrepreneurial strategy of Marc Comans and François de la Planche, directors of the factory in the faubourg of Saint Marcel, the correspondence between Rubens and Peiresc, the provenance of the twelve oil sketches, and the iconographical programme reveals that the series was not commissioned by the French king Louis XIII, as has long been believed, but by Comans and de la Planche. A close reading of Rubens¿s primary literary source, Caesar Baronius¿s Annales Ecclesiastici, shows that the artist must have intended the twelve scenes to hang in a sequence different from the generally accepted one, though seventeenth-century buyers and viewers could have seen and interpreted the Constantine series quite differently, as their view was distorted by the jumble of Constantinian legends and motifs that had lodged in the cultural memory of Latin Christianity. Finally, the book explores the area of tension between the set¿s austere monumentality and highly sophisticated aesthetic, which was rooted in Rubens¿s profound knowledge of classical and Renaissance art and in his earlier forays into the free and creative application of these sources, contemporary French and Brussels tapestry sets, and the pictorial and decorative qualities, possibilities and challenges inherent in the medium itself. Size: 180 X265 Mm.…