From Publishers Weekly:
Just when Cervantes was expanding the philosophical and literary range of the novel, artists in Spain were adopting secular ways of seeing. Between 1600 and 1650 they did still life paintings of such detached observation and formal purity that comparison with Mondrian, Cezanne and Albers is apt. In Walnuts, by Antonio de Pereda, the convoluted innards of the nuts, examined with the care of a surgeon, are an eerie sight.Juan Fernandez wrought existential marvels with grapes and apples. This valuable catalogue of a touring exhibition focuses on 46 paintings by 15 artists. It casts fresh light on a period and an art form unfamiliar to most, even to fans of Dutch still life. The Spanish school had a wealth of styles; miles separate Francisco de Zurbaran's stark symmetries from Van der Hamen's lush cosmopolitan concoctions.
Copyright 1986 Reed Business Information, Inc.
From Library Journal:
This scholarly exhibition catalog makes a significant contribution to the literature on Spanish still life painting by reviewing earlier studies and making many new conclusions and attributions based on recently discovered documents and the side-by-side study of these paintings. Jordan's introduction surveys the development of naturalism and still life painting in Spain, while Schroth's study of the iventories of contemporary Spanish collectors provides new insght into the acceptance of still life as a legitimate genre. These are followed by brief studies of 15 artists and their paintings, plus a chapter on two paintings with special attribution problems. Essential for research collections. Lynell A. Morr, John & Mable Ringling Museum of Art Lib., Sarasota, Fla.
Copyright 1986 Reed Business Information, Inc.
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