This richly illustrated book provides an overview of all known Dutch and Flemish artists up to the nineteenth century, who painted or drew flower pieces, or else made prints of them.

"This richly illustrated book provides an overview of all known Dutch and Flemish artists up to the nineteenth century who painted or drew flower pieces, or else made prints of them. Unlike many mainstream art historical studies, the book takes a truly comprehensive approach, including cases where only a single example is known or even if nothing of the artist's other work appears to have survived. Containing highly instructive lists identifying the names of flowers, as well as insects and other animals, the book also discusses the earliest depictions of flower still life and the distinctive characteristics behind the development of floral arrangements in different periods, including the variation of the flowers, the variety of techniques used by artists, as well as an exploration of the symbolism behind the numerous plant and animal species this form of art portrays.--éd.

At the time of the great tulip speculation of the 1630s in Holland, the most desirable tulip bulbs were auctioned for more money than the most expensive houses in Amsterdam. At the same time flower paintings which were remarkable for their apparent realism were produced all over Holland and purchased by Dutch families as enduring substitutes for the real thing. This beautiful book reveals the fascinating genesis and growth of a whole genre of paintings that has rarely been studied. Paul Taylor begins by discussing Holland's 'tulipomania' and its effect on the way people thought about floral still lifes. He then considers the religious messages associated with the flower paintings, exploring how religious writers spoke of flowers as moral signposts from God and how some flower paintings were meant to remind viewers of the transience of earthly existence. Flower paintings were not bought only as records of luxury objects or for moral edification, however. They were also enjoyed as works of art, as masterpieces of illusion, composition and colour harmony, so Taylor analyses the art-theoretical writings of the time in order to understand how artists and connoisseurs responded to flower pieces. He concludes by analysing the paintings themselves, tracing the development and refinement of the actual practice of flower painting.

A catalogue of 128 paintings produced during this period in which the art of portraiture was transformed, religious imagery dynamized, and new genres such as flower painting were established. The art of Holland's Golden Age is perennially popular with collectors and gallery visitors alike and this book provides a new insight into this unique private collection. In his introduction Ivan Gaskill considers the extremely varied character of Dutch and Flemsih seventeenth century art. It ranges from minutely observed scens of everyday life to portraits, religious works and intimate still-life compositions. The Thyssen-Bornemisza Collection is especially rich in landscapes, a subject which had emerged as a seperate genre in the Netherlands in the previous century. The author outlines the development of painting on both sides of the border, placing it in its social and historical context, and goes on to discuss the taste for Dutch and Flemish art from the seventeenth century to the present day and spotlights some of the earlier collectors. This detailed catalogue of 128 paintings is the result of meticulous researchin British, Dutch and American libraries and archives. The entries are arranged in ten groups by subject so that thematic similarities can be conveniently examined. Amongst the most celebrated works is Frans Hal's monumental "Family Portrait" - once the most expensive painting in the world. All the paintings are illustrated in colour and are accompanied by comparative illustrations and technical photographs.