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Art in History

Arts & Photography

Silver, Larry

History & Criticism

Pearson College Div

Art in History and Internet

PRENTICE/HALL

The only comprehensive volume available for the study of Northern Renaissance Art, this paperback presents stylistic and iconographical themes, art historical scholarship, and valuable analyses for today's learners. Its coverage and color capture the authors' lasting excitement for the period and its artists. A three-part organization covers international currents in the Fourteen Century, Fifteenth-Century Innovations, and Renaissance and Reformation in the Sixteenth Century. For a complete understanding of Northern Renaissance Art—its geography, patronage, and audience expectations.

Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575, 2nd Edition

Luttikhuizen, Henry

Snyder, James

Covering all the media Rembrandt worked in throughout his career, Rembrandt’s Faith is the only art-historical study to address the full breadth of the artist’s religious imagery. Rembrandt weighed in on important religious issues of his day and was a close student of the Bible, using traditional approaches based on Saint Paul to employ typology between the Old and New Testaments. He also shared the Dutch propensity to draw analogies between the biblical tales of the “chosen people” and Dutch society, including commentary on righteous leadership under God’s covenant. Rembrandt’s close reading of the Bible and biblical commentary by Calvin and other theologians was greatly abetted by the publication, in 1637, of the Dutch States Bible translation with notes. He also avidly studied seventeenth-century reconstructions of the Jerusalem Temple and frequently located his biblical narratives in re-creations of these spaces. Rembrandt’s Faith raises essential questions about the complex relationships among Rembrandt’s art, religion, and the theological debates of his time.

Rembrandt's Faith: Church and Temple in the Dutch Golden Age

Perlove, Shelley

Penn State University Press

Long before the photo op, political rulers were manipulating visual imagery to cultivate their authority and spread their ideology. Born just decades after Gutenberg, the Holy Roman Emperor Maximilian I (1459-1519) was, Larry Silver argues, the first ruler to exploit the propaganda power of printed images and text. Marketing Maximilian explores how Maximilian used illustrations and other visual arts to shape his image, achieve what Max Weber calls "the routinization of charisma," strengthen the power of the Hapsburg dynasty, and help establish the Austro-Hungarian Empire. A fascinating study of the self-fashioning of an early modern ruler who was as much image-maker as emperor, Marketing Maximilian shows why Maximilian remains one of the most remarkable, innovative, and self-aggrandizing royal art patrons in European history.
 Silver describes how Maximilian--lacking a real capital or court center, the ability to tax, and an easily manageable territory--undertook a vast and expensive visual-media campaign to forward his extravagant claims to imperial rank, noble blood, perfect virtues, and military success. To press these claims, Maximilian patronized and often personally supervised and collaborated with the best printers, craftsmen, and artists of his time (among them no less than Albrecht Dürer) to plan and produce illustrated books, medals, heralds, armor, and an ambitious tomb monument.

Marketing Maximilian: The Visual Ideology of a Holy Roman Emperor

Princeton University Press

Four hundred little people frolic au naturel with overgrown songbirds and raspberries; a pudgy blue demon serenades a fashionable young couple with a tune piped through his own elongated nose; a knife-wielding set of disembodied ears stalks the damned through hell. Over 500 years after his death, the bizarre and intricate art of Hieronymous Bosch continues to fascinate. "Larry Silver, a professor of art history at the University of Pennsylvania, elucidates “The Garden of Earthly Delights” and the nightmarish circus it presents, as well as a host of Bosch’s other magnificent works. He draws upon new research into his subject’s cultural milieu, belief system and artistic intentions. His explications of the paintings and their influence on other artists, most notably Pieter Bruegel the Elder, contain many fresh insights. . . . Bosch has 310 illustrations, most in full and high quality color, a vast bibliography and index. It’s a big book and will well reward the many hours needed to digest it." ― Bloomsbury Review The phantasmagoric imagery of Hieronymus Bosch (d. 1516) has been the source of widespread interest ever since the painter’s lifetime, and is still so enigmatic that scholars have theorized that it contains hidden astrological, alchemical, or even heretical meanings. Yet none of these theories has ever seemed to provide an adequate understanding of Bosch’s work. Moreover, the considerable professional success that the artist enjoyed in his native Hertogenbosch, not to mention his membership in a traditional religious organization, suggests that he pursued not a sinister secret agenda but simply his personal artistic vision. This intriguing new monograph by noted art historian Larry Silver interprets that artistic vision with admirable lucidity: it explains how Bosch’s understanding of human sin, morality, and punishment, which was conceived in an era of powerful apocalyptic expectation, shaped his dramatic visualizations of hell and of the temptations of even the most steadfast saints. Silver’s account of Bosch’s artistic development is one of the first to benefit from recent technical investigations of the paintings, as well as from the reexamination of the artist’s drawings in relation to his paintings. Hieronymus Bosch is also unique in how securely it places its subject’s work in the broader history of painting in the Low Countries: Silver identifies sources of Bosch’s iconography in a wide range of fifteenth-century panel paintings, manuscript illuminations, and prints, and describes how, despite their own religiousness, Bosch’s pictures helped inspire the secular landscape and genre scenes of later Netherlandish painters. Augmented by 310 illustrations, most in color, including many dramatic close-ups of Bosch’s intricately imagined nightmare scenes, this is the definitive book on a perennially fascinating artist.

Hieronymus Bosch

Abbeville Press

"Silver's Bruegel is an achievement of scholarship and an object of great beauty" 
― The Bloomsbury Review The exciting rediscovery in Spain of a missing canvas by Pieter Bruegel the Elder (ca. 1525-69) has jolted a revived public awareness of this great Flemish painter. Best known for his amusing depictions of peasants, landscapes, and Bosch-like fantasies, Bruegel also created a wide range of highly original interpretations of religious themes in an era marked by religious controversies. Over a career of two decades as both a printmaker and a painter, he found his artistic niche in Europe's leading center of international trade, the emerging "capital of capitalism," Antwerp. This new full-length study examines all works by Pieter Bruegel, including the new Madrid canvas, within the wider setting of art during his lifetime. All of his drawings, prints, and paintings on both canvas and panel are examined for form and content with comprehensive analysis. In addition, interpretation of the full range of Flemish paintings and prints during his generation is presented through the lens of Hieronymus Cock, Bruegel's own print publisher, "At the Sign of the Four Winds." Within this spectrum Bruegel's uniqueness and mastery emerges clearly. While scholars will appreciate the novel insights of this comprehensive re-examination of Pieter Bruegel, its highly accessible text will introduce newcomers and the general public to the delights of this inventive, trenchant, yet often amusing visual commentator on the human condition. All readers will relish the large-scale reproductions and frequent details in full color of his entire oeuvre in all media. This handsome, large-scale volume will form the definitive study and accessible introduction to the life and art of Pieter Bruegel.

Pieter Bruegel

Modern viewers take for granted the pictorial conventions present in easel paintings and engraved prints of such subjects as landscapes or peasants. These generic subjects and their representational conventions, however, have their own origins and early histories. In sixteenth-century Antwerp, painting and the emerging new medium of engraving began to depart from traditional visual culture, which had been defined primarily by wall paintings, altarpieces, and portraits of the elite. New genres and new media arose simultaneously in this volatile commercial and financial capital of Europe, home to the first open art market near the city Bourse. The new pictorial subjects emerged first as hybrid images, dominated by religious themes but also including elements that later became pictorial categories in their own right: landscapes, food markets, peasants at work and play, and still-life compositions. In addition to being the place of the origin and evolution of these genres, the Antwerp art market gave rise to the concept of artistic identity, in which favorite forms and favorite themes by an individual artist gained consumer recognition.
In Peasant Scenes and Landscapes, Larry Silver examines the emergence of pictorial kinds—scenes of taverns and markets, landscapes and peasants—and charts their evolution as genres from initial hybrids to more conventionalized artistic formulas. The relationship of these new genres and their favorite themes reflect a burgeoning urbanism and capitalism in Antwerp, and Silver analyzes how pictorial genres and the Antwerp marketplace fostered the development of what has come to be known as "signature" artistic style. By examining Bosch and Bruegel, together with their imitators, he focuses on pictorial innovation as well as the marketing of individual styles, attending particularly to the growing practice of artists signing their works. In addition, he argues that consumer interest in the style of individual artists reinforced another phenomenon of the later sixteenth century: art collecting. While today we take such typical artistic formulas as commonplace, along with their frequent use of identifying signatures (a Rothko, a Pollock), Peasant Scenes and Landscapes shows how these developed simultaneously in the commercial world of early modern Antwerp.

Peasant Scenes and Landscapes: The Rise of Pictorial Genres in the Antwerp Art Market

University of Pennsylvania Press

Winner of the 2007 Roland H. Bainton Prize in Art and Music from the Sixteenth Century Society and Conference
Modern viewers take for granted the pictorial conventions present in easel paintings and engraved prints of such subjects as landscapes or peasants. These generic subjects and their representational conventions, however, have their own origins and early histories. In sixteenth-century Antwerp, painting and the emerging new medium of engraving began to depart from traditional visual culture, which had been defined primarily by wall paintings, altarpieces, and portraits of the elite. New genres and new media arose simultaneously in this volatile commercial and financial capital of Europe, home to the first open art market near the city Bourse. The new pictorial subjects emerged first as hybrid images, dominated by religious themes but also including elements that later became pictorial categories in their own right: landscapes, food markets, peasants at work and play, and still-life compositions. In addition to being the place of the origin and evolution of these genres, the Antwerp art market gave rise to the concept of artistic identity, in which favorite forms and favorite themes by an individual artist gained consumer recognition. In Peasant Scenes and Landscapes, Larry Silver examines the emergence of pictorial kinds—scenes of taverns and markets, landscapes and peasants—and charts their evolution as genres from initial hybrids to more conventionalized artistic formulas. The relationship of these new genres and their favorite themes reflect a burgeoning urbanism and capitalism in Antwerp, and Silver analyzes how pictorial genres and the Antwerp marketplace fostered the development of what has come to be known as "signature" artistic style. By examining Bosch and Bruegel, together with their imitators, he focuses on pictorial innovation as well as the marketing of individual styles, attending particularly to the growing practice of artists signing their works. In addition, he argues that consumer interest in the style of individual artists reinforced another phenomenon of the later sixteenth century: art collecting. While today we take such typical artistic formulas as commonplace, along with their frequent use of identifying signatures (a Rothko, a Pollock), Peasant Scenes and Landscapes shows how these developed simultaneously in the commercial world of early modern Antwerp.

Hardcover. Tan cloth in pale yellow dust jacket. A bit of sunning to dj spine, some bumping to top edge of dj. Ownership signature on ffep with small note on verso. Otherwise, clean and unmarked. Near Fine. ISBN: 0839003226.

The Paintings of Quinten Massys: With Catalogue Raisonne

Rowman & Littlefield Pub Inc

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Books by Silver, Larry

See the best price to sell, buy, or rent books by Silver, Larry. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Art in History

Art in History and Internet

Northern Renaissance Art: Painting, Sculpture, the Graphic Arts from 1350 to 1575, 2nd Edition

Rembrandt's Faith: Church and Temple in the Dutch Golden Age

Marketing Maximilian: The Visual Ideology of a Holy Roman Emperor

Hieronymus Bosch

Pieter Bruegel

Peasant Scenes and Landscapes: The Rise of Pictorial Genres in the Antwerp Art Market

Peasant Scenes and Landscapes: The Rise of Pictorial Genres in the Antwerp Art Market

The Paintings of Quinten Massys: With Catalogue Raisonne