This book is the first complete study of the life and work of the 17th-century Dutch painter Simon Kick (1603-1652). Kick was active in Amsterdam, the largest and busiest city of the Netherlands, alongside Rembrandt. Simon Kick began painting only at the age of 32, driven to do so only due to the tragic death of his brother-in-law and since the economic situation necessitated it. Nevertheless, he was an excellent painter who focused on painting portraits, histories, and, above all, genre topics. He was one of only ten 17th-century Dutch painters to practice the unique genre formula of the guardroom scene. His guardroom scenes stand out as being more gentrified than others due to the fact that he assimilated in them the elegance of contemporary civic-guard portraits. His figures are particularly striking since they are well-characterized, often depicted in a contemplative mood, and imbued with a strong psychological presence. The fact that he started his career late and passed away at an early age robbed us of a great painter. The book includes a biography of the painter, as well as a systematic and comparative iconographical and stylistic study of his work, with an attached critical oeuvre catalogue. As such, it provides an important tool for both art enthusiasts and collectors, as well as art professionals such as students, scholars, auctioneers, and art dealers.

This richly illustrated book provides an overview of all known Dutch and Flemish artists up to the nineteenth century, who painted or drew flower pieces, or else made prints of them.

This book is the first complete study of the life and work of the 17th century Dutch painter Pieter Codde (1599-1678). Alongside Rembrandt, Codde was active in Amsterdam, the largest and busiest city of the Netherlands. Codde belonged to the first generation of painters who took part in the cultural phenomenon known as the Dutch Golden Age and therefore this monograph makes a significant contribution to our understanding of the early stages of development of the Dutch school of painting and its influence on later developments. The book includes a biography of the painter as well as a systematic and comparative iconographical and stylistic study of his work with an attached extensive critical oeuvre catalogue. This book is an important tool for both art enthusiasts and collectors as well as art professionals such as students, scholars, auctioneers and art dealers.

At once military, social and art history, this book elucidates various visual media, much of it little known, that denounce military cruelty in the Netherlands of the 16th and 17th century. This unique Netherlands specialty contrasts with Rubens' glorification of war, and its justification in patriotic siege prints, Scipio Africanus, and the "courtiers" of the civic guard groups and Ter Borch.

Until now dress has played only a subordinate role in the research of Rembrandt’s paintings, despite the fact that few artists are as intensively studied as this Dutch master. The lacuna is all the more surprising since Rembrandt obviously delighted in rendering clothes, which, for him, not only communicated the character and social status of his sitters but also clarified his narratives and heightened the drama in his historical pieces. Here, Marieke de Winkel offers a fascinating and much-needed study of dress and costume in the works of Rembrandt. De Winkel shows us how focusing on apparel opens a new line of inquiry into Rembrandt’s paintings, one which is symbolically and iconographically richer than previously imagined. This approach, which has not been fully acknowledged by art historians nor developed by dress historians, deepens our understanding of Rembrandt’s expression as well as the cultural and historical context of the Dutch seventeenth century. De Winkel proves the merits of the approach here with her close readings of Rembrandt’s paintings and the contemporaneous connotations of the clothes he depicted. She demonstrates convincingly that clothes do much more than help date the paintings; they are instead integral to the program of representation. No longer ancillary to art history, dress and costume here receive their full due in this study, leaving us with not only a better understanding of Rembrandt but of his wider world as well.

Walter Liedtke, curator of European paintings at the Metropolitan Museum of Art in New York, has assembled a splendid catalog of Vermeer and his artistic milieu. Seven lengthy, well-illustrated chapters (Liedtke wrote five, Dutch art historians Michiel Plomp and Marten Jan Bok wrote the others) describe life in the city of Delft; the painters Carel Fabritius, Leonart Bramer, and others who preceded Vermeer; the careers of Vermeer and De Hooch; the making of drawings and prints in 17th-century Delft; and the collecting of art in the same period. The catalog follows: each painting, print, and drawing accompanied by a lengthy catalog essay. Oversize: 12.25x9.75". c. Book News Inc.

First Published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.

First Published in 1995. Routledge is an imprint of Taylor & Francis, an informa company.