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REMBRANDTS ORIENT
MUSEUM BARBERINI
UYU 3.840
Temática:
PINTURA
Editorial:
PRESTEL
Cantidad de páginas:
264
Peso:
2240 g
ISBN:
9783791359632
Dimensiones:
24 x 30
This book sheds light on the fascinating ways Rembrandt and other Golden Age painters were influenced by Eastern culture.
In the 17th century, Amsterdam was a vibrant hub of the burgeoning European trade with Asia, Africa, and the Levant, importing copious amounts of foreign items that powerfully stimulated the imagination of numerous Dutch artists. This was notably the case with Rembrandt, whose curiosity and voraciousness as a collector were legendary in his time. Throughout his prolific career, he drew on Eastern influences in genres as diverse as history painting and portraiture, including depictions in which he himself adopted Oriental styled attire. This lavishly illustrated book explores the inventive ways in which Rembrandt and his contemporaries accommodated Eastern imagery into their own repertoire, set within the wider context of Hollands rapidly expanding commercial and cultural exchange with its non-European trading partners. The problematic term Orient was widely used in Rembrandts time and will be discussed at great length in this catalogue.
In the 17th century, Amsterdam was a vibrant hub of the burgeoning European trade with Asia, Africa, and the Levant, importing copious amounts of foreign items that powerfully stimulated the imagination of numerous Dutch artists. This was notably the case with Rembrandt, whose curiosity and voraciousness as a collector were legendary in his time. Throughout his prolific career, he drew on Eastern influences in genres as diverse as history painting and portraiture, including depictions in which he himself adopted Oriental styled attire. This lavishly illustrated book explores the inventive ways in which Rembrandt and his contemporaries accommodated Eastern imagery into their own repertoire, set within the wider context of Hollands rapidly expanding commercial and cultural exchange with its non-European trading partners. The problematic term Orient was widely used in Rembrandts time and will be discussed at great length in this catalogue.
Editorial:
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