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Flemish
Art and Architecture, 1585-1700 (The Yale University
Press Pelican History of Art) by Hans Vlieghe – Paperback:
348 pages Publisher: Yale University Press (November 10, 2004)
This beautifully illustrated book provides a complete overview
of the art of the Southern Netherlands from 1585 to 1700, the
years between the separation of the Southern from Northern provinces
and the end of Spanish rule. Eminent Flemish art historian Hans
Vlieghe examines the development of Flemish and specifically
Antwerp painting, the activity and influence of Rubens and such
other leading masters as Van Dyck and Jordaens, the Antwerp
tradition of specialization among painters, and the sculpture
and architecture of this period. He also describes the socioeconomic
and political conditions that facilitated the rise, evolution,
and expansion of Flemish art, focusing particularly on the Counter
Reformation, which stimulated construction and decoration of
new churches according to rules set out by the Council of Trent.
In the first half of the seventeenth century, Antwerp painting
rapidly became one of the highlights of Baroque art. This was
clearly linked to the activity of Rubens, who was immensely
important not only for the astonishing stylistic quality of
his work and for his enormous influence on several generations
of painters, but also for his workshop practice modeled on the
Italian method and his ability to familiarize others with Italian
Renaissance and Early Baroque art. Yet Rubens’s work can
only be understood fully in the context of the Antwerp tradition.
Vlieghe organizes the book around the pictorial categories of
Antwerp’s specialists—monumental history, cabinet
history, portrait, genre, landscape and architectural, still
life, animal and hunting scenes—and discusses the contributions
of well known and lesser known artists to each type of painting.
Masterpieces of Dutch art from the seventeenth century:
this sumptuous survey illuminates the extraordinary richness
and versatility of the art produced in Holland in the seventeenth
century—the Dutch Golden Age.
This lavishly illustrated book is an authoritative study of
Dutch painting from 1600 to 1800 and covers all the major artists
of the period-Hals, Rembrandt, Vermeer and sets them firmly
in the wider context of Dutch art.
The Group Portraiture of Holland (Texts & Documents) by
Alois Riegl, Wolfgang Kemp (Introduction) – Paperback,
448 pages (December 1999) Getty Ctr for Education in the Arts
In The Group Portraiture of Holland, art historian Alois
Riegl (18581905) argues that the artists of sixteenth-and seventeenth-century
Holland radically altered the beholders relationship to works
of art. Group portraits by artists such as Rembrandt and Frans
Hals reflect an egalitarian viewpoint not found in the more
hierarchically structured Italian works of the same period.
First published in 1902 and here in English for the
first time, the book opened up areas of inquiry that continue
to engage scholars today.
This study provides insight into the various artistic, literary,
political, and philosophical approaches that Dutch painting
has inspired over the ages.
Despite the active tradition of scholarship on Dutch painting
of the seventeenth century, scholars continue to grapple with
the problem of how the strikingly realistic characteristics
of art from this period can be reconciled with its possible
meanings.
This beautiful book reveals the fascinating genesis and growth
of Dutch flower painting, which has rarely been studied. Paul
Taylor discusses Holland`s "tulipomania" and its effect on the
way people thought about floral still lifes, considers the aesthetic
and religious meanings of these paintings, and concludes by
analyzing the paintings themselves, tracing the development
and refinement of the actual practice of flower painting.
Dutch
and Flemish Paintings by Peter C. Sutton – Hardcover:
312 pages Publisher: Frances Lincoln (January 25, 2007)
The paintings covered in this appealing book by Mariet Westermann
were intended to not only please, but to serve as a kind of
visual catalog of the period. Whether the subject was interior
or exterior, the paintings provide an almost photographic record
that bring to life the physical surroundings of the Dutch people
of the 17th century. In doing so, they provide insight into
their hearts and souls as well. And Westermann proves to be
a capable guide through the era.
This series chronicles the life, times, and works of the greatest
artists in history. Includes the following 6 programs: Rembrandt,
Vermeer, Rubens, Van Dyck, Bosch, and Bruegel.
Dutch Classicism by Albert Blankert (Editor), Museum
Boijmans Van Beuningen (Editor), Jeroen Giltaij (Editor), Frisco
Lammertse – Hardcover, 352 pages (March 1, 2000) NAi Publishers
This beautiful catalog presents a comprehensive treatment of
the achievements of the Utrecht school of painters. Unlike their
more well known compatriots, Rembrandt and Vermeer, who perfected
naturalistic portraits of seventeenth-century Dutch cultural
life, the Utrecht masters (including Abraham Bloemart and Cornelis
van Poelenburch) infused their canvases with a blend of mythological
imagination, baroque religiosity, and a Dutch sense of nature.
During the seventeenth century, the Netherlands—a small
country with just two million inhabitants and virtually no natural
resources—enjoyed a "Golden Age" of economic success, world
power, and tremendous artistic output. In this book North examines
the Dutch Golden Age, when Dutch society boasted Europe`s greatest
number of cities and highest literacy rate, unusually large
numbers of publicly and privately owned art works, religious
tolerance, and a highly structured and wide-ranging social network.
The Art of Describing by Svetlana Alpers – Paperback
Reprint edition (April 1984) University of Chicago Press
The art historian after Erwin Panofsky and Ernst Gombrich is
not only participating in an activity of great intellectual
excitement; he is raising and exploring issues which lie very
much at the centre of psychology, of the sciences and of history
itself. Svetlana Alpers's study of 17th-century Dutch painting
is a splendid example of this excitement and of the centrality
of art history among current disciples. Professor Alpers puts
forward a vividly argued thesis. There is, she says, a truly
fundamental dichotomy between the art of the Italian Renaissance
and that of the Dutch masters. . . . Italian art is the primary
expression of a 'textual culture,' this is to say of a culture
which seeks emblematic, allegorical or philosophical meanings
in a serious painting. Alberti, Vasari and the many other theoreticians
of the Italian Renaissance teach us to 'read' a painting, and
to read it in depth so as to elicit and construe its several
levels of signification. The world of Dutch art, by the contrast,
arises from and enacts a truly 'visual culture.' It serves and
energises a system of values in which meaning is not 'read'
but 'seen,' in which new knowledge is visually recorded."
—George Steiner, Sunday Times
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Flemish
Art and Architecture, 1585-1700
The Golden Age of Dutch Art: Painting, Sculpture, Decorative
Art
Dutch Painting 1600-1800
The Group Portraiture of Holland
The Golden Age of Dutch Painting in Historical Perspective 
Looking at Seventeenth-Century Dutch Art: Realism Reconsidered
Dutch
Flower Painting 1600-1720
Dutch
and Flemish Paintings
A
Worldly Art: The Dutch Republic, 1585-1718
Color, Dolby, NTSC
Dutch Classicism
Masters of Light: Dutch Painters in Utrecht During the Golden
Age
Dawn of the Golden Age: Northern Netherlandish Art 1580-1620
Art and Commerce in the Dutch Golden Age: A Social History of Seventeenth-Century
Netherlandish Painting 
The Art of Describing 
Praise of Ships and the Sea: The Dutch Marine Painters of
the 17th Century
