Ger Luijten

Like Durer, Rembrandt and Goya, Anthony van Dyck (1599-1641) made a key contribution to the art of printmaking. He was himself a talented etcher, and prints after his paintings were cut by the best engravers of his day. Yet, to date, his printmaking has suffered from undeserved neglect. This book discusses Van Dyck's first acquaintance with the medium in Rubens's workshop and illuminates the genesis of the" Iconography," a portrait gallery of illustrious contemporaries. All his etchings are catalogued together with preparatory drawings and grisailles, as well as proofs containing corrective flourishes. Furthermore the book includes a selection of the prints after paintings by Van Dyck. A number of them were the initiative of the artist himself, and others were produced on behalf of publishers and engravers. Works from the eighteenth century are included to illustrate the influence Van Dyck exerted until long after his death-- even in France and England. The introdu...

Reflet du visage complexe des Pays-Bas, l’histoire de l’art neerlandaise se construit entre identite locale et mondialisation, documentation et nouvelles technologies, attraction du Siecle d’or et affirmation des autres periodes. Rembrandt, le design, l’architecture, Van Gogh, l’archeologie, l’edition, le RKD, la culture visuelle, Huizinga, l’estampe..., autant de sujets qui invitent a une reflexion decentree sur la construction et l’evolution de la discipline. Ce numero est vente sur le site du Comptoir des presses d'universites.

In his printmaking, Rembrandt covered the full range of styles and subjects for which he is celebrated, including self-portraits, scenes from the Bible, vignettes of every day, and character studies. Rembrandt was famously experimental, and often reworked his copper plates to improve and extend their expressive power. This work, published to coincide with a major exhibition at the Rijksmuseum (Amsterdam) and British Museum (London), aims to illustrate a selection of his finest prints. New areas of research have made it possible to follow the progress of Rembrandt's work on each plate, revealing details of his habit of revising the images at various times throughout his life.

Pantagruel, Joan Miro's A Toute Epreuve , Picasso's Vollard Suite , Marc Chagall's Poemes and monotypes, Dunoyer de Segonzac's Georgics and Henry Moore's Elephant Skulls . Although he did not draw himself, and so played no part in making the reproductions after artists' paintings on which the Lacouriere Atelier thrived, Frelaut was a brilliant toolmaker and gready facilitated the work of those artists who drew their own prints. His role in a collaboration often led him to make a particular device to help an artist during his initial experiments. For Soulages, for example, he made a tool with a part borrowed from a fire extinguisher. For Hartung, he fashioned a set of tools from ivory toothbrush handles he had purchased in the flea-market. For Picasso, whose Tauromaquia he had to print in the very damp basement of the artist's house, he invented a set of small brushes out of a broom, to whisk up the dust in the resin box. For Henry Moore who, for 50 years, had drawn with his pencil lying almost flat, Frelaut adapted a dental pick to provide the artist with an engraving tool raked at an angle. Frelaut became Chef d'atelier in 1957, when the workshop was renamed the Atelier Lacouriere-Frelaut. Towards the

In his printmaking, Rembrandt covered the full range of styles and subjects for which he is celebrated, including self-portraits, scenes from the Bible, vignettes of every day, and character studies. Rembrandt was famously experimental, and often reworked his copper plates to improve and extend their expressive power. This work, published to coincide with a major exhibition at the Rijksmuseum (Amsterdam) and British Museum (London), aims to illustrate a selection of his finest prints. New areas of research have made it possible to follow the progress of Rembrandt's work on each plate, revealing details of his habit of revising the images at various times throughout his life.

The Boymans-van Beuningen Museum of Rotterdam contains some of the most important drawings by Old Masters of Dutch, Flemish, Italian, English, French and Spanish schools from the fifteenth to nineteenth centuries. This catalogue includes 104 drawings which range from very early German and Italian artists such as Pisanello and Gozzoli to early Netherlandish artists such as Schonganer, Altdorfer, the van Eyck School, Hieronymus Bosch, to nineteenth century French artists such as Ingres, Manet, Degas and Cezanne. Other distinguished artists represented are Durer, Rembrandt, Rubens and Watteau. The catalogue entries contain extensive and up-to-date literature on the drawings as well as information on provenance and technique. Discussion on matters of attribution and information is given in the footnotes and not in the running text, leaving the entries to be read as small essays on the drawings. All the 104 drawings are reproduced full-page in colour. Also included are 220 comparative illustrations in black and white of similar drawings by the same artist, or other related works of art.

... Schmidt-Degener erkannte das Zeitgebundene von literarischen und kunsthistorischen Ansichten und schrieb: >>Ein hal-bes Jahrhundert geht vorbei und unser Urteil ist ver-gessen, und wenn es nicht vergessen ist, ist es ein Urteil fiber uns ... Manfred Ohlsen, Wilhelm von Bode ...

... 22. Io J. de Brune, Emblemata ofzinne-werck, Amsterdam I624, p. 17: "Dit lijf, wat ist, als stanck en mist." I Muller, op. cit. (note 8), vol. 4, nr. II I2B. ... 259-60, pl. 4; A. Ribeiro, Dress and morality, London 1986, p. 7I, fig. 35, and Hollstein, op. cit. (note I), vol. 44, nr. 1280. 14 Muller, op. ...