Pierre Mignard

Fülszöveg

Résumé of the contents :
For the firsttime the portraits of one of the most famous and characteristic artistofthe 17th century, Pierre Mignard, have been studied and reevaluated in their artistic and historical significance. From the over two hundred portraits ofdiffer-ent quality and style, attributed to Pierre Mignard, the author has selected about thirty orig-inals somé of which are hither-to unknown to public and not reproduced.
The extrication of the genuine portraits of Pierre Mignard from the maze of wrong attributions , the correct identifica-tion of the sitters , the emphasis on the misused attachment of few popular names to likeness-es of other no less outstanding and interesting personages, and the connection of the portrai-tureofthe epoch with the men-talityof Mignard's models and their artistic and literary taste constitute the main importance of this work.
Lada Nikolenko was born in Leningrád, Russia. After the war she emigrated to USA and studied the Art History... Tovább

Fülszöveg

Résumé of the contents :
For the firsttime the portraits of one of the most famous and characteristic artistofthe 17th century, Pierre Mignard, have been studied and reevaluated in their artistic and historical significance. From the over two hundred portraits ofdiffer-ent quality and style, attributed to Pierre Mignard, the author has selected about thirty orig-inals somé of which are hither-to unknown to public and not reproduced.
The extrication of the genuine portraits of Pierre Mignard from the maze of wrong attributions , the correct identifica-tion of the sitters , the emphasis on the misused attachment of few popular names to likeness-es of other no less outstanding and interesting personages, and the connection of the portrai-tureofthe epoch with the men-talityof Mignard's models and their artistic and literary taste constitute the main importance of this work.
Lada Nikolenko was born in Leningrád, Russia. After the war she emigrated to USA and studied the Art History at the Institute of Fine Arts, NYU, and at the Courtauld Institute of Art, London. Her publica-tions include: FrancescoUber-tini called II Bacchiacca, 1966, articles in: Gazette des Beaux-Arts, 1966, 1967, 1969, 1970, The Connoisseur, 1969, Pan-theon, 1970. Alsó articles in different Russian magazines in USA and Canada.
In preparation: a book on fe-male portraiture. Vissza