Wtewael Joachim (9 results)

Pictorial wrappers, fine. On pp. 3-17, 18-29, 30-45 in Konsthistorisk tidskrift / Art Review published by the Society of Art History, 57 (1988):1. Stockholm 1988. 4to. [ii] + 46 pp. Illustrated. "Olav Kyrre's Episcopal Church in Trondheim in the 11th Century" in Norwegian with English Summary. and "Contoirstycket. Older Swedish quod libet still lifes and their meaning" in Swedish with English Summary. - - - A "quod libet" still life (from Latin for "whatever you wish") is a specific, highly detailed type of Dutch Golden Age still life, notably by Cornelis Norbertus Gysbrechts, that features common objects like letters, papers, and trinkets seemingly tacked or pinned to a wall or board, creating a playful, realistic illusion (a trompe-l'il) that looks like a random collection of "whatever pleases" the viewer. These paintings blend everyday items with artistic mastery, often hinting at deeper meanings about life and vanity, characteristic of Dutch still life art.

Utrecht, A, Oosthoek, 1929. [IV],278 pp. B./w. frontispiece, 1 plate with family tree of the Wtewael family & & 72 plts with b./w. ills. Orig. hardcover (cloth). - Some foxing.Foreword by Prof. W. Vogelsang. - Text in Dutch.

Hardcover. Condition: As New.

Hardcover. Condition: New.

Paperback. Condition: New.

Washington, Nationa Gallery of Art u.a., 2015, Kl.-4°, 210 S., mit zahlreichen Abbildungen, flexibler Original-Kartoneinband in schöner Erhaltung (2 private Besitzeinträge).

Paperback. Condition: New.

ca. 250 Bl., einige Farbtaf. *sehr gutes Arbeitsmaterial*. *neuwertig* Sprache: Italienisch 1200 gr.

Doornspijk, Davaco Publishers, 1986. 280 pp. 319 ills (28 col.). Hardcover, d./j. (Aetas Aurea. Monographs on Dutch & Flemisch Painting, Vol. VI). - New copy !!The art of Joachim Wtewael (1566-1638) exemplifies the richness and artifice of late Dutch mannerism. As one of the primary exponents of that sixteenth-century tradition, Wtewael remained faithfull to mannerist conventions throughout his life. At the same time, however, aspects of his style and approach adumbrate burgeoning Dutch 'realism', which grew on mannerist foundations. This book explores Wtewael's position at a transitional moment in Dutch art. It is a study of the last efflorescence of mannerism and an assessment of that tradition's importance for the seventeenth century. Emphasis is on Wtewael as a painter, with his related drawings also considered. Most often choosing his themes from classical mythology and the Bible, he was a history painter, when that calling was considered the highest level of art. He also, however, painted portraits and genre scenes. The variety of his subjects is matched by protean shifts in format, from brilliant little pictures on copper to panel paintings and canvases on a grand scale. The text begins with an overview of Dutch mannerism - its definition, history, and relationship to other European manifestations of the style. Subsequent chapters provide a biography of Wtewael, trace the stylistic development of his paintings, and discuss his choice and treatment of subjects. A review of his and his colleagues' reputations with artists, critics, and collectors presents the vicissitudes of Dutch mannerism since the seventeenth century. And, finally, a chapter of connoisseurhip devotes particular attention to the multiple versions of Wtewael's paintings and the separate artistic identity of his son Peter.The catalogue raisonné of ninety-six authentic paintings and nine problematic ones amplifies C.M.A.A. Lindeman's monograph of 1929 with many newly discovered works. Each catalogue entry includes vital statistics and a discussion of style, dating, sources, and iconography. Over 100 rejected attributions are separately listed. The 25 known paintings of Wtewael's son Peter, including 4 signed and dated pictures, are also fully catalogued and discussed in relation to Joachim's works.