Read by Lindsay Stainton. Lindsay Stainton, Christopher White.
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39 Stainton, L. and White, C, Drawing in England from Hilliard to Hogarth, Cambridge University Press, Cambridge, 1987. 43 Massing, . 'From Books of Secrets to Encylopedias: Painting Techniques in France between 1600 and 1800', in Wallert, . Hermens, E. and Peek, M. ed. Historical Painting Techniques, Materials, and Studio Practices, University of Leiden, Leiden, 1995, pp. 20-29. 44 Talley, . Portrait painting in England: studies in the technical literature before 1700, Paul Mellon Centre for Studies in British Art, New Haven, 1981.
com's Lindsay Stainton Author Page. Drawing in England from Hilliard to Hogarth Jan 1, 1987. by Lindsay and Christopher White Stainton.
Lindsay Stainton and Christopher White. Drawing in England from Hilliard to Hogarth (Cambridge, 1987), pp. 67-68. Boston: Museum of Fine Arts, 1993), pp. 294-97, ill. Christopher White. Anthony van Dyck: Thomas Howard, The Earl of Arundel (Malibu, 1995), pp. 69-70, fig. Rollin van N. Hadley (e. The Letters of Bernard Berenson and Isabella Stewart Gardner 1887-1924 (Boston, 1987), pp. 58-60, 113-14, 116, 120-23, 203, 206. 50. Kristin Lohse Belkin. Rubens (London, 1998), p. 222. David Freeberg. Rubens and Titian: Art and Politics" in Hilliard T. Goldfarb et al.
Lindsay Stainton and Christopher White, Drawing in England from Hilliard to Hogarth, exhibition catalogue, British .
Lindsay Stainton and Christopher White, Drawing in England from Hilliard to Hogarth, exhibition catalogue, British Museum, London 1988, p. 63–4. Tabitha Barber, with Mary Bustin, Mary Beale: Portrait of a Seventeenth-Century Painter, Her Family and Her Studio, exhibition catalogue, Geffrye Museum, London 1999, n. 3, . 6. For The Ponte Lucano, near Tivoli (Yale Center for British Art, New Haven) see Lindsay Stainton and Christopher Wright, Drawings in England from Hilliard to Hogarth, exhibition catalogue, British Museum, London 1987, n. 25, p.
His previous books are "Turner's Venice" and (co-authored) "Drawing in England from Hilliard to Hogarth".
that the guest curators, Lindsay Stainton and Christopher White, excluded them.
Of the group, Godfrey Kneller seems to have made the tidiest living out of portraiture, being the first artist to be made a baronette - by the first of the Hanoverians, George I. ''Drawing in England From Hilliard to Hogarth'' at the Yale Center for British Art sounds like an all-British production, but, beginning in the 1590's and ending i. There could have been a few more - William Dobson is one of the more noticeable omissions - and presumably it is because none of their drawings are extant that the guest curators, Lindsay Stainton and Christopher White, excluded them.
Comparable in handling to a self-portrait in the Victoria and Albert Museum, L. Stainton and C. White, Drawing in England from Hilliard to Hogarth, exhib. ca. The British Museum, London, 1987, no. 65. Fuller is said to have studied in France under Franois Perrier before 1635. He specialized in portraits before turning to historical and mythological pictures. Fuller also executed theater designs.