Seymour Slive (1920–2014)
Auteur de Dutch Art and Architecture 1600-1800
A propos de l'auteur
Seymour Slive is Gleason Professor of Fine Arts emeritus at Harvard University and former Director of the Harvard University Art Museums.
Crédit image: Harvard College
Œuvres de Seymour Slive
Jacob van Ruisdael [cat. exp., La Haye, Mauristhuis, 1 oct 1981 – 3 jan 1982 ; Cambridge, The Fogg Art Museum, 18 jan… (1981) 33 exemplaires
Jacob van Ruisdael : A Complete Catalogue of His Paintings, Drawings, and Etchings (2001) 8 exemplaires
Frans Hals. 3. Catalogue 5 exemplaires
Rembrandt (Rembrandt Harmensz van Rijn) : (1606-1669) 4 exemplaires
Die Mühle von Wijk 3 exemplaires
Frans Hals : tentoonstelling ter gelegenheid van het honderdjarig bestaan van het Gemeentemuseum te Haarlem, 1862-1962 3 exemplaires
Deutsche Kunst des 20. Jahrhunderts aus dem Busch-Reisinger Museum, Harvard University, Cambridge, USA 1 exemplaire
Rembrandt Bible Paintings 1 exemplaire
Frans Hals. Volumes I & II: Text and Plates 1 exemplaire
Art For Boston 1 exemplaire
Oeuvres associées
Drawings of Rembrandt : with a selection of drawings in 2 Volumes (1965) — Introduction — 56 exemplaires
Étiqueté
Partage des connaissances
- Date de naissance
- 1920-09-15
- Date de décès
- 2014-06-14
- Sexe
- male
- Nationalité
- USA
- Lieu de naissance
- Chicago, Illinois, USA
- Lieu du décès
- Cambridge, Massachusetts, USA
- Cause du décès
- cancer
- Lieux de résidence
- Cambridge, Massachusetts, USA
- Études
- University of Chicago (A.B.|1943 ∙ Ph.D|1952)
- Professions
- art historian
professor
museum director - Relations
- Sandomirsky, Zoya Gregorevna (wife)
- Organisations
- Harvard University
Fogg Art Museum
Pomona College
Oberlin College
United States Naval Reserve (WWII) - Prix et distinctions
- 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)
Membres
Critiques
Dutch art and architecture 1600-1800 par 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… (plus d'informations)
“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… (plus d'informations)
Prix et récompenses
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Statistiques
- Œuvres
- 27
- Aussi par
- 3
- Membres
- 535
- Popularité
- #46,549
- Évaluation
- 3.9
- Critiques
- 3
- ISBN
- 39
- Langues
- 7