Among the Boijmans Van Beuningen Museum's extensive holdings of Old Master drawings, the collection of drawings by the Antwerp masters Peter Paul Rubens, Jacob Jordaens and Anthony van Dyck stand out as absolute highlights. This generously illustrated publication examines 70 of their best drawings, discussing not only the significance of these works, but also their provenance, attribution and dating. It also sets the work in context, by considering the work of a variety of contemporaries on the seventeenth-century Flemish scene (many of whom were influenced directly by the work of these masters), and by including essays on a variety of topics of art and culture in Antwerp. This book will be a major contribution to the study of seventeenth-century Northern European art.

Rubens, Jordaens, Van Dyck and Their Circle: Flemish Master Drawings from the Museum Boijmans Van Beuningen

Arts & Photography

Baetens, Roger

de Haan, Maartje

Depauw, Carl

Luijten, Ger

Meij, Bram

Meijer, Bert

Vlieghe, Hans

Jordaens, Jacob

van Dyck, Anthonie

Rubens, Peter Paul

History & Criticism

nai010 publishers/Museum Boijmans Van Beuningen

Capturing realistic images on canvas has been a staple aspiration of western art since the Renaissance development of scientific perspective. At the end of the nineteenth century, however, animated by the invention of photography and cinema, artists began attempting not only to paint realistically but also to create images that projected the ethical content of the world around them. Illusions of Reality: Naturalist Painting, Photography and Cinema, 1875-1918 traces the development of Naturalism within painting, literature, theater, photography and film, and the relationship among these art forms, paying attention to the way painters such as Jules Adler, Thomas Anshutz, Jules Bastien-Lepage, Emile Claus, Thomas Eakins, Christian Krohg, Gari Melchers, Jules-Alexis Muenier, Fernand Pelez, Jean-André Rixens and Anders Zorn, filmmakers such as André Antoine, Albert Capellani and Léon Lhermitte and photographers such as Peter Henry Emerson, used Naturalism as a vehicle for understanding the lives of ordinary people at a time of great social transformation. Practitioners of Naturalism frequently concerned themselves with the social ills created by industrialization, as well as the social responses to these problems in both public education and religion. Likewise, the transformation brought about by industrialization led many artists to focus on the loss of traditional agrarian culture as well as the political upheaval caused by working conditions in the factories. Technological advances in art, from the development of photography in the first half of the nineteenth century to the emergence of film toward the end of the century, contributed to the interaction among art forms and the attention toward social conditions. Edited by Gabriel P. Weisberg, Professor of Art History at the University of Minnesota, with essays by Weisberg, David Jackson, Willa Silverman and Maartje de Haan, Illusions of Reality offers a fresh interpretation of how Naturalist artists, and the aesthetic they espoused, attempted to understand and explain the rapid and profound changes of their time.

Illusions of Reality: Naturalist Painting, Photography, Theatre and Cinema, 1875-1918

Jackson, David

Becker, Edwin

Silverman, Willa

Weisberg, Gabriel

Mercatorfonds/Van Gogh Museum

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