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Some of them demonstrate a psychological penetration worthy of Titian, some draw the viewer in to an agreement "eye to eye" or close themselves off from any scrutiny at all or even, as in Moroni's "Portrait of a Young Woman," which serves as the jacket image, seem to challenge the viewer to what can only be called "eye-to-eye combat.

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A well-conceived and well-executed portrait can reach across the centuries and provide us with a direct human connection with the past. No matter how remote in time or place, or how famous or little-known the sitters or artists might be, portraits retain the power to enthrall. Among the themes of western art, portraiture is perhaps the most engaging. The thirty paintings and one sculpture exhibited here trace the various modes of European portraiture from the late fifteenth to the early nineteenth century.

Eye to Eye features thirty paintings by master artists from the late fifteenth through the early nineteenth century, including portraits by Hans Memling, Lucas Cranach the Elder, Anthony Van Dyck, Jean Baptiste Greuze, Jacques-Louis David, and other outstanding if sometimes lesser-known.

Eye to Eye features thirty paintings by master artists from the late fifteenth through the early nineteenth century, including portraits by Hans Memling, Lucas Cranach the Elder, Anthony Van Dyck, Jean Baptiste Greuze, Jacques-Louis David, and other outstanding if sometimes lesser-known painters. The book brings to light a number of works that are virtually unknown, having never been published or publicly exhibited, including Portrait of a Man by the brilliant Mannerist artist Parmigianino; a remarkably fresh portrait of a young man by the Flemish master Peter Paul Rubens; two canvases by the.

Автор: Rand Richard, Morris Kathleen M. Название: Eye to Eye: European Portraits 1450-1850 .

In this beautiful book, noted scholars discuss these various approaches and explain how they apply to specific examples, focusing on thirty superb portraits drawn from a distinguished private collection.

Eye to Eye" offers a new understanding of these exceptional and rarely seen works within the portrait genre. Книга отсутствует в продаже. Rand McNally and Company. от 488. The Eye of the World: The Graphic Novel, Volume 1 (Wheel of Time Graphic Novels).

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Portrait of a Man, c. 1530, by Parmigianino. A special exhibition of European portrait painting, featuring works by master artists from the late fifteenth century through the early nineteenth century, is on view at the Sterling and Francine Clark Art Institute from January 23 through March 27, 2011, in the exhibition Eye to Eye: European Portraits 1450–1850


Reviews about Eye to Eye: European Portraits, 1450-1850 (2):
Tygolar
I am an artist, and needed to see technique, much more than read about art history or critique. This book offers up close photos of the paintings, so much so that you can actually see the brush strokes, and breaks in color. Excellent for that, in addition, the short descriptions of each work are quite beautifully written and a pleasure to read. I thoroughly enjoyed it, and will use it as a reference for a long time. (For those of you who costume, the book is astounding).
MrDog
This volume is the catalogue accompanying the exhibition of the same name that was mounted from January to March 2011 at the Sterling and Francine Clark Art Institute in Williamstown, Mass. The entire exhibition is part of the extensive private collection of Aso O. Tavitian, one of The Clark's Trustees, who is also a Trustee of the Frick Collection and of other philanthropically dependent organizations. Mr. Tavitian acquired these works between 2005 and 2010 as they emerged from obscurity onto the auction market, were sold from other private collections, or in some other way became available for purchase. What that means is that several paintings reproduced here have never before been on public view, much less published, and have hitherto escaped technical and curatorial examination. The catalogue presents the thirty paintings and one sculpture that were exhibited and an additional five paintings that could not be shown, mostly because of the fragility of their supports. Of them approximately one-quarter were previously generally unknown, and these are no minor pieces; they include a Rubens, a Pontormo, a Parmigianino (or da Carpi?), a pair of de Riberas, a Moroni, etc. David Ekserdjian, Head of the Art History Department at the University of Leicester and the author of excellent books on Corregio and Parmigianino, has written the general introduction, which deftly places this collection within the wider context of the development of European portraiture and deals with details like attribution, identity of the sitter, dating, and other issues that inevitably arise when a work is first discovered or rediscovered after a period of neglect. It is reassuring that when he thinks he's right he says why, and when he's not sure, he's willing to leave it that it "remains maddeningly unclear" (29). The catalogue paintings (all oils on various supports) have full-page reproductions, with excellent clarity and color, and one or two additional detail or blow-up pages. They receive expert commentary by The Clark's senior curators Richard Rand and Kathleen M. Morris, who also indicate, when relevant, provenance, prior exhibition, and selected references, and the volume concludes with a general bibliography of references.

This is a quite stunning collection of portraits, for there is not an image in it that is not arresting in some way. The fact that, alongside Rubens and Parmigianino, at least two of the paintings are by unknown artists is an indication of the collector's priority in putting beauty above prestige and goes far to explaining the excellence of the collection. Some of the faces are simply breathtakingly beautiful, such as Antoine-Jean Gros's 1815 "Portrait of Count Honoré de La Riboisière," who looks exactly, as Dr. Ekserdjian comments, "as if he has just stepped out of the pages of 'War and Peace'" (32), or the seraphically gorgeous young lady in "Head and Shoulders of a Woman" by an unknown sixteenth-century Italian. Some of them demonstrate a psychological penetration worthy of Titian, some draw the viewer in to an agreement "eye to eye" or close themselves off from any scrutiny at all or even, as in Moroni's "Portrait of a Young Woman," which serves as the jacket image, seem to challenge the viewer to what can only be called "eye-to-eye combat." In any case, there is not a single picture here that one can look at with indifference. The sheer beauty of the catalogue's collection, its historical significance in publishing some hitherto obscure or unknown works by artists of the first order, and the fact that it is superbly printed and beautifully produced in every way--all that makes for a book that anyone seriously interested in portrait painting will want to have. Most highly recommended.

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