Seymour Slive (1920–2014)
Teoksen Dutch Art and Architecture 1600-1800 tekijä
Tietoja tekijästä
Seymour Slive is Gleason Professor of Fine Arts emeritus at Harvard University and former Director of the Harvard University Art Museums.
Image credit: Harvard College
Tekijän teokset
Jacob van Ruisdael [cat. exp., La Haye, Mauristhuis, 1 oct 1981 – 3 jan 1982 ; Cambridge, The Fogg Art Museum, 18 jan… (1981) 33 kappaletta
Jacob van Ruisdael : A Complete Catalogue of His Paintings, Drawings, and Etchings (2001) 8 kappaletta
Frans Hals. 3. Catalogue 5 kappaletta
Die Mühle von Wijk 3 kappaletta
Rembrandt Bible Paintings 1 kappale
Art For Boston 1 kappale
Associated Works
Merkitty avainsanalla
Yleistieto
- Syntymäaika
- 1920-09-15
- Kuolinaika
- 2014-06-14
- Sukupuoli
- male
- Kansalaisuus
- USA
- Syntymäpaikka
- Chicago, Illinois, USA
- Kuolinpaikka
- Cambridge, Massachusetts, USA
- Kuolinsyy
- cancer
- Asuinpaikat
- Cambridge, Massachusetts, USA
- Koulutus
- University of Chicago (A.B.|1943 ∙ Ph.D|1952)
- Ammatit
- art historian
professor
museum director - Suhteet
- Sandomirsky, Zoya Gregorevna (wife)
- Organisaatiot
- Harvard University
Fogg Art Museum
Pomona College
Oberlin College
United States Naval Reserve (WWII) - Palkinnot ja kunnianosoitukset
- Fellow, American Academy of Arts and Sciences (1964)
Corresponding Fellow, British Academy (1995)
Fellow, Dutch Society of Sciences
Honorary Member, Karel van Mander Society
Officer of the House of Orange-Nassau (1962)
Charles Rufus Morey Prize (1970)
Jäseniä
Kirja-arvosteluja
Dutch art and architecture 1600-1800 Tekijä: Jakob Rosenberg
Disappointing. It gives an adequate introduction to Dutch 17th century painting, and in that sense it's not a bad book. But it deals with Dutch sculpture and architecture of the same period as if it was an afterthought - and the same goes for anything 18th century. So it simply doesn't live up to its title.
½
Sanford Schwartz on Seymour Slive and this book:
“Hals provides something huge that we don’t get in Rembrandt or Vermeer and that complements them: a quicksilver and empathic responsiveness to people in all their variety. (…)
As Seymour Slive, our foremost authority on the artist, has suggested, Hals seems to have taken the key to each of his pictures from the nature of his encounter with the sitter. (Slive’s writings on Hals have the same warmth, directness, energy, and clarity that rise from the paintings.) The experience of the 1989 retrospective, which was largely Slive’s work and which can almost be recaptured in its catalog, where the reproductions are large and good, is that we are encountering a storehouse of subtle moods and expressions.
We see people who are, from painting to painting, alert, bemused, shy, in the middle of a remark, or mildly questioning. This one looks out at us appraisingly. One or two sitters feel like phonies or rakes, and we of course are drawn to them the most. Many are expressively neutral, but hardly one is inert. The cumulative effect of these many separate persons is that we know Hals himself. He is the generous, genial, and shrewd man, we tell ourselves, who has been able to capture them all.”
http://www.nybooks.com/articles/archives/2011/oct/13/quicksilver-frans-hals… (lisätietoja)
“Hals provides something huge that we don’t get in Rembrandt or Vermeer and that complements them: a quicksilver and empathic responsiveness to people in all their variety. (…)
As Seymour Slive, our foremost authority on the artist, has suggested, Hals seems to have taken the key to each of his pictures from the nature of his encounter with the sitter. (Slive’s writings on Hals have the same warmth, directness, energy, and clarity that rise from the paintings.) The experience of the 1989 retrospective, which was largely Slive’s work and which can almost be recaptured in its catalog, where the reproductions are large and good, is that we are encountering a storehouse of subtle moods and expressions.
We see people who are, from painting to painting, alert, bemused, shy, in the middle of a remark, or mildly questioning. This one looks out at us appraisingly. One or two sitters feel like phonies or rakes, and we of course are drawn to them the most. Many are expressively neutral, but hardly one is inert. The cumulative effect of these many separate persons is that we know Hals himself. He is the generous, genial, and shrewd man, we tell ourselves, who has been able to capture them all.”
http://www.nybooks.com/articles/archives/2011/oct/13/quicksilver-frans-hals… (lisätietoja)
Palkinnot
You May Also Like
Associated Authors
Tilastot
- Teokset
- 27
- Also by
- 3
- Jäseniä
- 535
- Suosituimmuussija
- #46,549
- Arvio (tähdet)
- 3.9
- Kirja-arvosteluja
- 3
- ISBN:t
- 39
- Kielet
- 7