By Henry Maguire

ISBN-10: 0691036934

ISBN-13: 9780691036939

During this interdisciplinary examine, Henry Maguire examines the effect of numerous literary genres and rhetorical concepts at the visible arts of Byzantium. particularly, he indicates that the literary gildings of the sermons and hymns of the church nourished the imaginations of artists, and essentially affected the iconography, kind, and association in their paintings. utilizing provocative fabric formerly unexpected to artwork historians, he concentrates on non secular paintings from a.d. 843 to 1453. during this interdisciplinary research, Henry Maguire examines the effect of a number of literary genres and rhetorical suggestions at the visible arts of Byzantium. particularly, he exhibits that the literary gildings of the sermons and hymns of the church nourished the imaginations of artists, and essentially affected the iconography, sort, and association in their paintings. utilizing provocative fabric formerly unusual to artwork historians, he concentrates on spiritual artwork from a.d. 843 to 1453.

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At first sight the portrait of Schrevelius lacks these ridges too. 11 Under enlargement only remains of these ridges in the top layer can be recognized. An explanation for this state of affairs gradually surfaced when the portrait could be compared to two contemporary engravings after this painting (or after the lost original) by Jacob Matham, dated 1618, and Jonas Suyderhoef (figs. 12 I will later return to the dating of the last engraving. According to the inscriptions 52 the learned eye boek The Learned Eye V5 09-02-2005 16:50 Pagina 53 on both the engravings they were based on an example that had been painted by Frans Hals.

Cornelis Hofstede de Groot, Die Handzeichnungen Rembrandts, Haarlem 1906, lists it under no. 1421 (sic, pace Benesch). Comp. Otto Benesch, The Drawings of Rembrandt. ), London 1954-57, no. 8, fig. , A Corpus of Rembrandt Paintings vol I, 1625-1631, Den Haag etc. 1982, p. 185, fig. 7. , Wien 1922, p. 11, pl. 39; the first to discuss it in its relationship to Rembrandt’s painting was Kurt Bauch, Die Kunst des Jungen Rembrandt, Heidelberg 1933, pp. 71, 194, 195, fig. 62 (as formerly Albertina, sold).

Cornelis Cornelisz. van Haarlem, The Fall of Man, 1582, canvas, 273 x 220 cm, Amsterdam, Rijksmuseum. Detail from Eva’s legs. Photo: Margriet van Eikema Hommes boek The Learned Eye V5 09-02-2005 16:50 Pagina 63 (1592), nowhere are the highest and lowest light values contiguous with the contours of the bodies of Adam and Eve (fig. 3). Nor are the bodies sharply defined, but rather their outlines dissolve into the surroundings. We see a broad diffuse area where the flesh tones gradually give way to the darker colour of the background.

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Art and Eloquence in Byzantium by Henry Maguire


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