Description of the life of the Dutch artist and catalogue of her work.

An illustrated feast for the eye and intellect Dutch Art explores developments in art, art history, art criticism, and cultural history of the Netherlands from the artists' workshops for the Utrecht Dom in 1475 to the latest movements of the 1990s. it is lavishly illustrated with 147 black-and-white photographs and 16 pages in full color. More than 100 internationally recognized scholars, museum professionals, artists, and art critics contributed signed essays to this monumental work, including historians, sociologists, and literary historians.

First published in 1998, Engraved on Steel focuses on engraving and engravers, exploring the use of steel engraving in both the decorative arts and in printing, Basil Hunnisett also describes the context of the steel engraver’s work. The processes by which steel engraving became one of the most widely used forms of printing in the 19th century are described in detail as the developments in the print industry, paper manufacture and publishing that determined its history. The activities of print publishers are also examined, including those of art unions.

Following diamonds from African mines to the necklines of high society women, this international history shows why Jews were central to the transatlantic gem trade and its growth into a global industry. During the late nineteenth century, tens of thousands of diggers, prospectors, merchants, and dealers extracted and shipped over 50 million carats of diamonds from South Africa to London. The primary supplier to the world, South Africa's diamond fields became one of the formative sites of modern capitalist production. At each stage of the diamond's route through the British empire and beyond-from Cape Town to London, from Amsterdam to New York City-carbon gems were primarily mined, processed, appraised, and sold by Jews. In A Brilliant Commodity, historian Saskia Coenen Snyder traces how once-peripheral Jewish populations became the central architects of a new, global exchange of diamonds that connected African sites of supply, European manufacturing centers, American retailers, and western consumers. Centuries of restrictions had limited Jews to trade and finance, businesses that often heavily relied on internal networks. Jews were well-positioned to become key players in the earliest stage of the diamond trade and its growth into a global industry, a development fueled by technological advancements, a dramatic rise in the demand of luxury goods, and an abundance of rough stones. Relying on mercantile and familial ties across continents, Jews created a highly successful commodity chain that included buyers, brokers, cutters, factory owners, financiers, and retailers. Working within a diasporic ethnic community that bridged city and countryside, metropole and colony, Jews helped build a flourishing diamond industry, notably Hatton Garden in London and the Diamond District of New York City, and a place for themselves in the modern world.

The Bio-bibliographical Index by Profession is a unique index of visual artists from all over the world and throughout all ages. It provides the user with access to the Allgemeines Ku nstlerlexikon (AKL), which, on completion, will contain more than 500,000 biographies on artists and provide an overview of artistic activity. Several hundred artistic professions are included here, from architects to etchers, from sculptors to body-arts. The basis for the biographical entries are over 200 major international encyclopedia of artists with a total of some 500 volumes, whose data, including source references, are indexed by the Bio-bibliographical Index by Profession in a clearly structured manner, providing the user with an overview and easy access. The data has been supplemented with material from the published volumes of AKL, Thieme-Becker and Vollmer, and with additional details researched by the editorial staff. The index thus represents a biographical reference work in its own right. The index is structured by artistic professional groups (in English), within professional groups by country and within countries, in chronological order. The Bio-bibliographical Index by Profession thus also provides a chronological overview of the history of artists and the development of various art forms in individual countries. Providing up-to-date information, the short entries comprise the artist's name (including name variants and pseudonyms), fields of artistic activity, biographical dates, places of birth and death (if not known: place and date first and/or last mentioned), country classification and at least one bibliographicalsource reference. For each professional title listed in English, the five-language "Glossary of Occupations" provides German, French, Italian and Spanish equivalents. User information, the "Overview of Professions and their Classification" and the "Alphabetical List of Countries" are also provided in five languages, making this work a genuine treasure trove of information to be used all around the globe.

"The artistic work produced in the Netherlands a hundred years ago is characterized by enormous variety. Impressionism was still a strong influence, but young artists were exploring numerous other avenues as well. Some turned to new sources of inspiration such as Japanese art and symbolism, while others were pushing stylization to its limits. International schools were followed closely by the Dutch artists, many of whom stayed for months at a time in Paris, the South of France or London to study the new trends at close range. These developments, which roughly spanned the period 1885-1915, began with Van Gogh, and ended with Mondrian...This book explores the significance of this period of art on paper...The selection gives an excellent impression of the range of work produced on paper in the period around 1900."--back cover