#17TH CENTURY PORTRAITURE FULL#
#17TH CENTURY PORTRAITURE FREE#

Adams invokes seventeenth-century sources asserting the act of viewing as transformative for self-perception. The heart of the chapter, however, is AdamsвЂ™s discussion of evolving early modern conceptions of identity of the ways contemporary thinkers understood it and especially how portraiture actively participated in producing it. The first chapter, вЂњThe Cultural Power of Portraits,вЂќ stands on its own as an exemplary introduction to seventeenth-century Dutch portraiture, with insights into early modern portraiture as a whole.ДЄdams begins chapter 1 by commenting on the flexibility of seventeenth-century definitions of portraiture, and by presenting an account of market considerations, including the economic background of viewers. Its content will appeal to readers interested both in its individual studies of portrait genres and in the more theoretical first and last chapters that frame these studies. This book draws deeply on AdamsвЂ™s research on the Amsterdam portraitist Thomas de Keyser as well as on her more recent, general articles on portraiture. These portraits helped viewers find reassurance at a time when traditional sources of identity were eroding. Her main claim is that portraiture constructed viewer identity and thereby played a role in creating the Dutch economic miracle. Adams, by contrast, ranges widely in terms of portrait type, medium, and artist to investigate the conceptions of вЂњself and personal identity, communal structures, and social ideologiesвЂќ articulated by Dutch portraits, as well as the psychological processes by which they produced these conceptions. Mann Verlag, 2008), RembrandtвЂ™s portrait prints (Stephanie Dickey, Rembrandt, Portraits in Print, Amsterdam: John Benjamins, 2004 ), and an important museum exhibition catalogue ( Portraits in the Mauritshuis 1430вЂ“1790, The Hague: Mauritshuis, 2004). Recent books include, for example, studies of the tronie (Dagmar Hirschfelder, Tronie und PortrГ¤t in der niederlГ¤ndischen Malerie des 17. Yet there is no book on Dutch portraiture quite like AdamsвЂ™s in the breadth of its approach. AdamsвЂ™s book follows the tendency of recent scholars to shift scrutiny away from considerations of style and mimesis, and toward socio-cultural context and viewer response.

Performance Art/Performance Studies/Public PracticeДЄnn Jensen Adams begins her book by observing that seventeenth-century Dutch portraits were displayed in a wide variety of contexts they were вЂњeverywhere.вЂќ While it would be hyperbolic to declare scholarly studies of early modern portraiture to be everywhere, the last few decades have indeed witnessed an expansion of interest, notably in the portraiture of Spain, Italy, Germany, and the Netherlands.

Museum Practice/Museum Studies/Curatorial Studies/Arts Administration.

Drawings/Prints/Work on Paper/Artistc Practice.

Digital Media/New Media/Web-Based Media.

Architectural History/Urbanism/Historic Preservation.

Subject, Genre, Media, Artistic Practice.

The portrait is competatively priced to sell and would be a lovely compliment to any period home or as a noticable addition or interior design piece within most modern room settings. Kneller died of fever in 1723 and his remains were interred in the church of St. His portraits set a pattern that was followed until William Hogarth and Joshua Reynolds.

#17TH CENTURY PORTRAITURE FULL#

He founded a studio which churned out portraits on an almost industrial scale, relying on a brief sketch of the face with details added to a formulaic model, aided by the fashion for gentlemen to wear full wigs. In England, Kneller concentrated almost entirely on portraiture. He was introduced to, and painted a portrait of, Charles II. They came to England in 1676, and won the patronage of the Duke of Monmouth. Kneller studied in Leiden, but became a pupil of Ferdinand Bol and Rembrandt in Amsterdam.

#17TH CENTURY PORTRAITURE FREE#

Kneller was born Gottfried Kneller in the Free City of LГјbeck, the son of Zacharias Kniller. Sir Godfrey Kneller, 1st Baronet (8 August 1646 вЂ“ 19 October 1723) was the leading portrait painter in England during the late 17th and early 18th centuries, and was court painter to English and British monarchs from Charles II to George The portrait is nicely presented in an oval slip, being detailed with fine chasing and presented in an outer frame having a rope design.ДЄRTIST: This fine example is by a good competent hand and is in the style and circle of works by Sir Godfrey Kneller. This is a fine oil on canvas portrait of an elegant young lady seen posing informally glancing towards the talented artist, who captures the moment perfectly with a view of her wearing a fashionable blue velvet dress and without her wig and finery.

17th century portraiture