the interior, offering ever-changing views for those moving about the house, creates a novel experience. He places the verandah, built on to the back of a house, right at its heart. The plant motifs in the glass dome are a good example of the period&aposs sublimation of nature in the urban dwelling. The roots of this characteristic feature of Art Nouveau can be traced to the romantic sensitivity to nature, and the interior of the Van Eetvelde house is its crystallisation. Horta demonstrated here that he had rid
Peter van den Brink and Maximiliaan P.J. Martens, with contributions by them as well as Dan Ewing, Till Borchert, Annick Born, Godehard Hoffmann, Micha Leeflang and Yao-Fen You. Published on the occasion of an exhibition held in 2005 in Antwerp (Koninklijk Museum voor Schone Kunsten) and in 2005-06 in Maastricht (Bonnefantenmuseum), for which it also serves as catalogue 239 pp., 29 cm. Antwerp (Koninklijk Museum voor Schone Kunsten) 2005 ISBN 90-8586-005-9 (Dutch) ISBN 90-8586-006-7 (English)
GA 4513 (-18 century) GA 4514 (17-18 century)Barbiers en Chirurgijns (Barbers and Surgeons)
One of Van Dyck’s earliest known works, as well as his known self-portrait, this painting is dated, on the basis of his appearance, to the first half of the 1610s, when he was about fifteen. The thick application of the paint is different from that of the other early self-portraits. Despite the bold execution, the artist probably considered the painting a finished work. Within decades of his death, it was acquired for the celebrated Viennese collection of the second Prince of Liechtenstein.
56. Hilde De Ridder-Symoens, “Marcquis (Marques), Lazarus,” (Brussels: Paleis der Academiën, 1985), 11:480-84. [getekend:] francoijs Denijs Peeter van Cortbempde Martin