Through a historical analysis of Vermeer's method of production and a close reading of his art, Daniel Arasse explores the originality of this artist in the context of seventeenth-century Dutch painting. Arguing that Vermeer was not a painter in the conventional, commercial sense of his Dutch colleagues, Arasse suggests that his confrontation with painting represented a very personal and ambitious effort to define a new pictorial practice within the classical tradition of his art. By examining Vermeer's approach to image ...
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Through a historical analysis of Vermeer's method of production and a close reading of his art, Daniel Arasse explores the originality of this artist in the context of seventeenth-century Dutch painting. Arguing that Vermeer was not a painter in the conventional, commercial sense of his Dutch colleagues, Arasse suggests that his confrontation with painting represented a very personal and ambitious effort to define a new pictorial practice within the classical tradition of his art. By examining Vermeer's approach to image-making, the author finds that his works demonstrate the concept of painting as a medium through which the viewer senses the ungraspable and mysterious presence of life. Not only does this concept of painting carry on the traditions of Classical Antiquity and the High Renaissance, but it also relates to Catholic ideas about spiritual meditation and the power of images. Arasse shows that although Vermeer usually uses secular subject matter commonplace among his contemporaries, his treatment of iconography, light, and line, for example, varies greatly from theirs. Iconographical elements tend to hold meaning in suspense rather than to explicate; dazzling light emanates from interior objects; sfumato renders the presence of objects without depicting them. Discussing these and other aspects of Vermeer's art, Arasse locates the painter's genius in the reflexive, meditative nature of his works, each of which seems to be a painting about painting.
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Add this copy of Vermeer to cart. $14.38, very good condition, Sold by HPB-Emerald rated 5.0 out of 5 stars, ships from Dallas, TX, UNITED STATES, published 1996 by Princeton University Press.
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Add this copy of Vermeer: Faith in Painting to cart. $20.15, good condition, Sold by Anybook rated 4.0 out of 5 stars, ships from Lincoln, UNITED KINGDOM, published 1994 by Princeton University Press.
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This is an ex-library book and may have the usual library/used-book markings inside. This book has hardback covers. In good all round condition. Dust jacket in good condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item, 700grams, ISBN: 9780691033624.
Add this copy of Vermeer to cart. $36.16, good condition, Sold by Bonita rated 4.0 out of 5 stars, ships from Newport Coast, CA, UNITED STATES, published 1996 by Princeton University Press.
Add this copy of Vermeer: Faith in Painting to cart. $39.50, very good condition, Sold by Hennessey + Ingalls rated 5.0 out of 5 stars, ships from Los Angeles, CA, UNITED STATES, published 1994 by Princeton University Press.
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Used-Very Good. Through a historical analysis of Vermeer's method of production and a close reading of his art, Daniel Arasse explores the originality of this artist in the context of seventeenth-century Dutch painting. Arguing that Vermeer was not a painter in the conventional, commercial sense of his Dutch colleagues, Arasse suggests that his confrontation with painting represented a very personal and ambitious effort to define a new pictorial practice within the classical tradition of his art. By examining Vermeer's approach to image-making, the author finds that his works demonstrate the concept of painting as a medium through which the viewer senses the ungraspable and mysterious presence of life. Not only does this concept of painting carry on the traditions of Classical Antiquity and the High Renaissance, but it also relates to Catholic ideas about spiritual meditation and the power of images. Arasse shows that although Vermeer usually uses secular subject matter commonplace among his contemporaries, his treatment of iconography, light, and line, for example, varies greatly from theirs. Iconographical elements tend to hold meaning in suspense rather than to explicate; dazzling light emanates from interior objects; sfumato renders the presence of objects without depicting them. Discussing these and other aspects of Vermeer's art, Arasse locates the painter's genius in the reflexive, meditative nature of his works, each of which seems to be a painting about painting. Very nice copy.
Add this copy of Vermeer: Faith in Painting to cart. $51.44, like new condition, Sold by GreatBookPrices rated 4.0 out of 5 stars, ships from Columbia, MD, UNITED STATES, published 1996 by Princeton University Press.
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Fine. Trade paperback (US). Glued binding. 208 p. Contains: Illustrations. In Stock. 100% Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. To Alaska, Hawaii, U.S. protectorate, P.O. box, and APO/FPO addresses allow 4-28 business days for Standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers.
Add this copy of Vermeer: Faith in Painting to cart. $56.49, good condition, Sold by Bonita rated 4.0 out of 5 stars, ships from Newport Coast, CA, UNITED STATES, published 1994 by Princeton University Press.
