Rembrandt and the Italian Renaissance

Fülszöveg

ART
Rembrandt and the Italian Renaissance
This important new work treats the familiar subject of Rembrandt from a new point of view. Sir Kenneth Clark has brought his knowledge of the Italian Renaissance to bear on his study of Rembrandt's style and sources, and has demonstrated the extent to which Rembrandt was influenced by the great Italians of the fifteenth and early sixteenth centuries. Not only did Rembrandt borrow motives and pictorial ideas from artists of that period, but his whole style derived from them an increased range and depth.
Sir Kenneth documents his theme with copious examples, supported by references to the inventory of Rembrandt's own collection. Analyzing some of Rembrandt's most famous paintings and etchings, he sheds light not only on Rembrandt's sources, but on the creative process by which a great artist can recreate for his own use the ideas and techniques of his predecessors.
sir kenneth clark Is One of the most eminent art historians of the... Tovább

Fülszöveg

ART
Rembrandt and the Italian Renaissance
This important new work treats the familiar subject of Rembrandt from a new point of view. Sir Kenneth Clark has brought his knowledge of the Italian Renaissance to bear on his study of Rembrandt's style and sources, and has demonstrated the extent to which Rembrandt was influenced by the great Italians of the fifteenth and early sixteenth centuries. Not only did Rembrandt borrow motives and pictorial ideas from artists of that period, but his whole style derived from them an increased range and depth.
Sir Kenneth documents his theme with copious examples, supported by references to the inventory of Rembrandt's own collection. Analyzing some of Rembrandt's most famous paintings and etchings, he sheds light not only on Rembrandt's sources, but on the creative process by which a great artist can recreate for his own use the ideas and techniques of his predecessors.
sir kenneth clark Is One of the most eminent art historians of the present day. He was born in London in 1903, and is a graduate of Trinity College, Oxford. He was Keeper of Fine Art, Ashmolean Museum, Oxford, from 1931 to 1933, and Surveyor of the King's Pictures during the same years. In 1933 he was appointed Director of the National Gallery, London, and remained there until 1945. For two years he worked with Bernard Berenson in Florence. He was Slade Professor of Fine Arts at Oxford from 1946 to 1950 and from 1961 to 1962, and Chairman of the Arts Council of Great Britain from 1953 to 1960. His publications include The Gothic Revival; Leonardo da Vinci; Florentine Painting: Fifteenth Century; Landscape Into Art; Piero della Francesca; Moments of Vision; The Nude; Looking at Pictures; and Ruskin Today. Vissza