The Paintings of Hendrick ter Brugghen (1588-1629), is the first major study of this important early seventeenth-century master since Benedict Nicolson's classic monograph of 1958. It comprises two chapters that explore ter Brugghen's development as an artist and the reception of his work among contemporaries, followed by a truly monumental catalogue raisonné of ter Brugghen's 89 authentic paintings, 54 pictures associated with the artist and/or his workshop, 141 rejected works, 42 lost works, and lastly, 10 drawings that have been linked to ter Brugghen directly or related to his paintings. Already celebrated during his lifetime, and avidly collected by elite cognescenti in the Dutch Republic and abroad, ter Brugghen executed a dazzling variety of paintings, ranging from Bible subjects and saints, to fascinating mythological images, as well as scenes of daily life, including musicians. Although his knowledge of paintings by Caravaggio that he had seen during his early sojourn in Rome always remained acute, these experiences were continually tempered by his awareness of older Northern European artistic traditions and conventions, with the result that ter Brugghen created pictures whose subject matter and style are fascinating, and at times, unique. Until his untimely death in August of 2003, Leonard J. Slatkes was Distinguished Professor of Art History at Queens College of the City University of New York, NY. He was an internationally renowned expert on the art of the Dutch Caravaggisti, to whom he had devoted many essays, books, and exhibition catalogues. Slatkes had begun conducting research on ter Brugghen's paintings in the 1960's, with the expectation of eventually publishing a new monograph on the artist. Wayne Franits, a former student of Slatkes's, is currently Professor of Fine Arts at Syracuse University, Syracuse, NY. He has authored numerous publications on seventeenth-century Dutch and Flemish art.

The first in-depth study of the Utrecht artist to address questions beyond connoisseurship and attribution, this book makes a significant contribution to Ter Brugghen and Northern Caravaggist studies. Focusing on the Dutch master's simultaneous use of Northern archaisms with Caravaggio's motifs and style, Natasha Seaman nuances our understanding of Ter Brugghen's appropriations from the Italian painter. Her analysis centers on four paintings, all depicting New Testament subjects. They include Ter Brugghen's largest and first known signed work (Crowning with Thorns), his most archaizing (the Crucifixion), and the two paintings most directly related to the works of Caravaggio (the Doubting Thomas and the Calling of Matthew). By examining the ways in which Ter Brugghen's paintings deliberately diverge from Caravaggio's, Seaman sheds new light on the Utrecht artist and his work. For example, she demonstrates that where Caravaggio's paintings are boldly illusionistic and mimetic, thus de-emphasizing their materiality, Ter Brugghen's works examined here create the opposite effect, connecting their content to their made form. This study not only illuminates the complex meanings of the paintings addressed here, but also offers insights into the image debates and the status of devotional art in Italy and Utrecht in the seventeenth century by examining one artist's response to them.

In this book the reader will discover that we all have the ability, in a matter of minutes, to destroy the people we love most. Based on a shocking true story, A State of Nine One One is an account of facts that everyone who loves someone should know. A physician and single mother is trying to raise her family right. An anonymous meeting with John F. Kennedy, Jr. changes her life for the better. When the pretty doctor is seduced by a dashing, alleged Mafia member, she finds her life exploding. Desperate to make sense of the tragic, surrealistic events in her life, the doctor turns to a psychiatrist for help, and characterizes a deadly disease in young people.

A Tale Blazed Through Heaven examines developments in the representation of the classical tale of Mars, Venus, and Vulcan in the literature and painting of the Golden Age of Spain (c.1526-1681). Anchored in close analysis of individual primary texts, the five chapters that comprise this study assess how poets and painters breathed new life into the tale inherited from Homer, Ovid, and others, examining some of the ways in which the story of Mars, Venus, and Vulcan was disguised, developed, expanded, mocked, combined with or played off against different subjects, or otherwise modified in order to pique the interest of successive generations of readers and viewers. Each chapter discusses what particular changes and shifts in emphasis reveal about the tale itself, specific renderings, the aims and intentions of individual poets and painters, and the wider context of the literary and visual culture of Early Modern Spain. Discussing a range of poems by both canonical (Garcilaso de la Vega, Luis de Góngora, Lope de Vega, etc.) and less well-known writers (Juan de la Cueva, Alonso de Castillo Solórzano, Salvador Jacinto Polo de Medina, etc.), and culminating in detailed examination of select mythological works by Philip IV's court painter, Diego Velázquez, this book sheds light on questions relating to aspects of classical reception in the Renaissance, the rise of specific poetic styles (epic, mock-epic, burlesque, etc.), the interplay between the sister arts of poetry and painting, and the continual process of imitation and invention that was one of the defining features of the Spanish Golden Age.

In 1964, President Lyndon Johnson declared an "unconditional war" on poverty in the form of sweeping federal programs to assist millions of Americans. Two decades later, President Reagan drastically cut such programs, claiming that welfare encouraged dependency and famously quipping, "Some years ago, the federal government declared war on poverty, and poverty won." These opposing policy positions and the ideologies informing them have been well studied. Here, the focus turns to the influence of popular art and entertainment on beliefs about poverty's causes and potential cures. These new essays interrogate the representation of poverty in film, television, music, photography, painting, illustration and other art forms from the late 19th century to the present. They map when, how, and why producers of popular culture represent--or ignore--poverty, and what assumptions their works make and encourage.

Written for musicians by a musician, Meantone Temperaments on Lutes and Viols demystifies tuning systems by providing the basic information, historical context, and practical advice necessary to easily achieve more satisfying tuning results on fretted instruments. Despite the overwhelming organological evidence that many of the finest lutenists, vihuelists, and viola da gamba players in the Renaissance and Baroque eras tuned their instruments in one of the meantone temperaments, most modern early instrument players today still tune to equal temperament. In this handbook richly supplemented with figures, diagrams, and music examples, historical performers will discover why temperaments are necessary and how they work, descriptions of a variety of temperaments, and their application on fretted instruments. This technical book provides downloadable audio tracks and other tools for fretted instrument players to achieve more stable consonances, colorful dissonances, and harmonic progressions that vividly propel the music forward.

This publication is the Museum's descriptive catalogue of its 2,500 paintings, oil sketches, and finished pastels, each one illustrated and presented chronologically by national and regional school. -- Metropolitan Museum of Art website.

Frans Hals is one of the most important portrait painters of all time. Like Rembrandt, the famous Dutch Baroque master's striking portraits of the bourgeoisie and social outsiders are distinguished by their extraordinary vividness and accurate depiction. His sketch-like paintings, executed with bold brushstrokes, had a decisive influence on modernist painting. This comprehensive publication coincides with the first major survey exhibition of Hals' oeuvre in more than thirty years. FRANS HALS (1582/84–1666) was born in Antwerp, the son of a cloth merchant. In 1610 he was accepted into the Haarlem Guild of St. Luke. Hals created hundreds of genre paintings, individual, and group portraits and enjoyed great public prestige. Despite his fame during his lifetime, it was not until the nineteenth century that he was enthusiastically rediscovered by the Impressionists and Realists.

The Primacy of the Image in Northern Art 1400-1700: Essays in Honor of Larry Silver is an anthology of 42 essays written by distinguished scholars on current research and methodology in the art history of Northern Europe of the late medieval and early modern periods. Written in tribute to Larry Silver, Farquhar Professor of the History of Art at the University of Pennsylvania, the topics are inspired by Professor Silver’s renowned scholarship in these areas: Early Netherlandish Painting and Prints; Sixteenth-Century Netherlandish Painting; Manuscripts, Patrons, and Printed Books; Dürer and the Power of Pictures; Prints and Printmaking; and Seventeenth-Century Painting. Studies of specific artists include Hans Memling, Albrecht Dürer, Hans Baldung Grien, Hieronymus Bosch, Pieter Bruegel, Hendrick Goltzius, and Rembrandt.

The Elements of Art deconstructs great works of art into manageable components so that you can better understand and appreciate them. Knowing how to interpret art is one of the biggest issues facing casual gallery-goers. They may ask themselves questions like: Why is the Mona Lisa so small? Why are some frames gilded in gold while others are non-existent? What can the use of material say about a work, whether it’s an oil painting, collage or made of found objects? And does the life of the artist matter? This book answers all of these questions and more and introduces the key elements with which you can analyse and better understand artwork. From colour, medium and size to where the piece is situated, and the artist who made it, you’ll learn what’s important and what’s not so important. The book includes two parts: Part One introduces the elements using examples from throughout art history, introducing key terms and techniques while giving you the tools to apply lessons learned outside of the book. Part Two puts the elements into practice by breaking down 30 great artworks element by element—from Michelangelo to Frida Kahlo. With the Elements of Art, you’ll learn important information about technique, style, material, location and colour that will shape you to read and interpret art. Whether you're a student, teacher, culture vulture or art enthusiast, this book will help you de-mystify great works of art, making for a more meaningful, fulfilling and enjoyable visit to any gallery.