In Volume IV the focus lies on Rembrandt's self-portraits. During this research it became obvious that matters of authenticity cannot be viewed separately from questions relating to the original function and meaning of these works. Rembrandt's intriguing life-long practice of portraying himself in front of a mirror is examined in depth in this volume. As a result, not only has the group of approximately forty painted self-portraits gained transparency, but also new insights have been developed regarding Rembrandt's drawn and etched self-portraits. The problems of authenticity relating to a substantial number of self-portraits which in the past were attributed to Rembrandt, in this volume receive an unexpected nuance: through a combination of technical and stylistic research it is demonstrated that some of Rembrandt's self-portraits were in fact painted by others in his workshop.In clear and accessible explanatory texts the different paintings are discussed. Among the many illustrations are life-size colour reproductions of the faces of the self-portraits under discussion. Details are shown where possible, as well as the results of modern day technical imaging like X-radiography. The volume contains an -- in several respects eye-opening -- essay by the head of the Rembrandt Research Project, Ernst van de Wetering, on the problems of authenticity and function of Rembrandt's self-portraits. In addition, the book includes groundbreaking contributions by Marieke den Winkel on the meaning of dress and costume in Rembrandt's self-portraits, by Karin Groen on the use of grounds in Rembrandt's workshop and in paintings by his contemporaries, and a study by Jaap van der Veen concerning 17th-century ideas about authenticity in art.This reference work should be part of every serious art historical institute, university or museum. The enigma of Rembrandt's self-portraits, one of the most compelling phenomena in art history has been unravelled by Ernst van de Wetering with unprecedented thoroughness.
Follow-up to The Devil's Serum. In the astonishing finale of the Alexis Beaureparie series, Moses, Armond and Lisette once again come face to face with the alluring, sinister Alexis Beaureparie and her evil plans to have them finished once and for all. With the help of her murderous lover, will she succeed in killing the detective or will she be undone?
Without question, the tache (blot, patch, stain) is a central and recurring motif in nineteenth-century modernist painting. Manet's and the Impressionists' rejection of academic finish produced a surface where the strokes of paint were presented directly, as patches or blots, then indirectly as legible signs. Cezanne, Seurat, and Signac painted exclusively with patches or dots. Through a series of close readings, this book looks at the tache as one of the most important features in nineteenth-century modernism. The tache is a potential meeting point between text and image and a pure trace of the artist's body. Even though each manifestation of tacheism generates its own specific cultural effects, this book represents the first time a scholar has looked at tacheism as a hidden continuum within modern art. With a methodological framework drawn from the semiotics of text and image, the author introduces a much-needed fine-tuning to the classic terms index, symbol, and icon. The concept of the tache as a 'crossing' of sign-types enables finer distinctions and observations than have been available thus far within the Peircean tradition. The 'sign-crossing' theory opens onto the whole terrain of interaction between visual art, art criticism, literature, philosophy, and psychology.
This book is the result of a long friendship, of a broad international co- operation, and of a bold dream. It is the summary of work carried out by the authors, and several other wonderful people, during more than 15 years, across 3 continents, in the course of countless meetings, workshops and discus- sions. It shows that neither language nor distance can be an obstacle to close scientific cooperation, when there is unity of goals and true collaboration. When we started, we had very different approaches to handling the mys- terious, almost magical world of asynchronous circuits. Some were more theo- retical, some were closer to physical reality, some were driven mostly by design needs. In the end, we all shared the same belief that true Electronic Design Automation research must be solidly grounded in formal models, practically minded to avoid excessive complexity, and tested "in the field" in the form of experimental tools. The results are this book, and the CAD tool petrify. The latter can be downloaded and tried by anybody bold (or desperate) enough to tread into the clockless (but not lawless) domain of small-scale asynchronicity. The URL is http://www.lsi. upc. esr j ordic/petrify. We believe that asynchronous circuits are a wonderful object, that aban- dons some of the almost militaristic law and order that governs synchronous circuits, to improve in terms of simplicity, energy efficiency and performance.
Young, rich widow Diana Porteous has inherited a vast collection of paintings, but she feels without purpose again. Then her beloved step-grandson comes up with the idea for an exhibition of portraits with the title 'A Question of Guilt'. It starts as a joke, but soon they are preparing the huge wine cellar of the old schoolhouse by the sea, in spite of those with misgivings as to its suitability.
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