Background
A Chicago native and the son of Russian-Jewish immigrants Daniel Slive and Sonia Rapoport, Slive received his Bachelor of Arts in 1943 and Doctor of Philosophy in 1952, both from the University of Chicago.
(Frans Hals (born sometime between 1581 and 1585, died in ...)
Frans Hals (born sometime between 1581 and 1585, died in 1666) was one of the world's great portrait painters. Eighty-six paintings from collections all over the world are assembled in this book, each accompanied by individual commentaries. This book was first published on the occasion of the "Frans Hals" exhibition held at the National Gallery of Art, Washington D.C., the Royal Academy of Arts, London, and the Frans Halsmuseum, Haarlem, 1989-1990. The volume contains 108 full-color plates and 245 black-and-white illustrations.
http://www.amazon.com/gp/product/3791310321/?tag=2022091-20
( Frans Hals is the most authoritative and perceptive stu...)
Frans Hals is the most authoritative and perceptive study of one of the greatest Dutch painters of the Golden Age. Author Seymour Slive is widely recognized as one of the greatest living authorities on Dutch art. Here, he places Hals’ career in the social and historical context of seventeenth‐century Holland, exploring the artist’s portraiture alongside works by Hals’ predecessors and contemporaries. Engaging, informative, and stunningly produced, the newly reissued Frans Hals is a timeless record of an iconic artist.
http://www.amazon.com/gp/product/0714867551/?tag=2022091-20
( Although the extensive literature on Rembrandt could fi...)
Although the extensive literature on Rembrandt could fill a small library, there has been no up-to-date survey of his extraordinary achievement as a draftsman. Renowned Rembrandt scholar Seymour Slive fills this void with his scrutiny of some 150 drawings culled from a corpus of about 800 by the master. The drawings, reproduced in color, are accompanied by etchings and paintings by Rembrandt and others, including Leonardo and Raphael. Unlike other publications of Rembrandt’s drawings, they are here arranged thematically, which makes his genius crystal clear. Individual chapters focus on self-portraits, portraits of family members and friends, the lives of women and children, nudes, copies, model and study sheets, animals, landscapes and buildings, religious and mythological subjects, historical subjects, and genre scenes. Slive further discusses possible doubtful attributions, which account for the considerable reduction from earlier times in the number of drawings now ascribed to the master.
http://www.amazon.com/gp/product/0892369760/?tag=2022091-20
(Jacob van Ruisdael is the preeminent Dutch landscape pain...)
Jacob van Ruisdael is the preeminent Dutch landscape painter of the seventeeth century, renowned for the wealth of closely observed naturalistic detail in his works. This beautiful book, written by one of the most distinguished scholars of Dutch art, is a catalogue raisonne of Ruisdael's landscapes: almost 700 paintings, more than 130 drawings, and 13 rare etchings. Seymour Slive demonstrates the totality of the artist's vision in all three media, offering comprehensive and perceptive entries on all catalogued works. He also presents and discusses paintings and drawings that have been wrongly attributed to Ruisdael or whose status is uncertain. In addition, Slive provides a documented chronology of Ruisdael's life based on a fresh examination of published and unpublished archival material; a chronological list of his dated works in all media; a topographical index; and concordances. In two appendices, Slive reviews the proposal that Ruisdael had a second profession as a medical doctor and discusses the copies John Constable made of Ruisdael's landscapes during the course of his lifelong passion for the master. The combination of text and lavish reproductions makes this volume both a major work of scholarship and a vivid testimony to Ruisdael's ongoing legacy.
http://www.amazon.com/gp/product/0300089724/?tag=2022091-20
( Windmills were ubiquitous in seventeenth-century Hollan...)
Windmills were ubiquitous in seventeenth-century Holland and they remain the best-known symbol of the Dutch landscape. Jacob van Ruisdael first depicted them as a precocious teenager and continued to represent all types in various settings until his very last years. Water mills, in contrast, were scarce in the new Dutch Republic, found mainly in the eastern provinces, particularly near the border with Germany. Ruisdael discovered them in the early 1650s and was the first artist to make water mills the principal subject of a landscape. His most celebrated painting, Windmill at Wijk bij Duurstede at the Rijksmuseum, and the J. Paul Getty Museum’s Two Undershot Water Mills with an Open Sluice are the centerpieces of this overview of the artist’s depictions of windmills and water mills. Both depended upon forces of nature for their operation, but their use in the Netherlands and their place in seventeenth-century Dutch art differed considerably. This book examines their role in Holland and introduces readers to the pleasure of studying Ruisdael’s images of them, a joy conveyed by the English landscapist John Constable in a letter written to his dearest friend after seeing a Ruisdael painting of a water mill in a London shop: “It haunts my mind and clings to my heart.”
http://www.amazon.com/gp/product/1606060554/?tag=2022091-20
(Dutch painting in its prime is one of the great achieveme...)
Dutch painting in its prime is one of the great achievements in the history of art. Painters described their life and their environment, their country and their city sights so thoroughly that their work seems to provide a nearly complete pictorial record of Dutch culture. This book explores all the aspects of a truly creative period when sureness of instinct and quality of performance held a safe balance. The work of the great masters - including Rembrandt, Hals, Vermeer, Ruisdael - and their impact on others are analyzed and set in the context of a period when government, religion and social structures were all reestablishing themselves after significant changes. Slive discusses the kinds of painting that became Dutch specialities: genre scenes, landscape, marines and still lifes, portraiture and architectural painting, as well as examining patronage, trends in art theory and criticism, and collecting.
http://www.amazon.com/gp/product/0300074514/?tag=2022091-20
(My greatest debt in the writing of this book is to my tea...)
My greatest debt in the writing of this book is to my teacher Dr. Ulrich Middeldorf, who taught me the methodology of research in art history, and who guided my studies of art theory and criticism. This study, which in an earlier form was accepted as a doctoral dissertation by the University of Chicago, was begun under Dr. Middeldorf's guidance, and during all stages of its preparation I benefited from his invaluable suggestions and criticism. A United States Government Grant enabled me to complete my researches on Rembrandt in the Netherlands, where I studied at the Rijksuniversiteit te Utrecht with Dr. J. G. van Gelder, who was particularly generous with his knowledge and time. He read the manuscript and proofs, and offered numerous suggestions and additions which have been of great benefit to me. Special acknowledgement is made to the Kunsthistorisch lnstituut der Rijksuniversiteit te Utrecht for generously finding a place for this study in the Utrechtse Bij- dragen tot de Kunstgeschiedenis. I am also much indebted to Dr. H. Schulte- Nordholt of the Kunsthistorisch lnstituut for his valuable advice and his help inseeing the book through the press.
http://www.amazon.com/gp/product/9401503060/?tag=2022091-20
(Dutch painting in its prime is one of the great achieveme...)
Dutch painting in its prime is one of the great achievements in the history of art. Painters described their life and their environment, their country and their city sights so thoroughly that their work seems to provide a nearly complete pictorial record of Dutch culture. This book explores all the aspects of a truly creative period when sureness of instinct and quality of performance held a safe balance. The work of the great masters - including Rembrandt, Hals, Vermeer, Ruisdael - and their impact on others are analyzed and set in the context of a period when government, religion and social structures were all reestablishing themselves after significant changes. Slive discusses the kinds of painting that became Dutch specialities: genre scenes, landscape, marines and still lifes, portraiture and architectural painting, as well as examining patronage, trends in art theory and criticism, and collecting.
http://www.amazon.com/gp/product/0300064187/?tag=2022091-20
museum director fine arts educator
A Chicago native and the son of Russian-Jewish immigrants Daniel Slive and Sonia Rapoport, Slive received his Bachelor of Arts in 1943 and Doctor of Philosophy in 1952, both from the University of Chicago.
AB, University of Chicago, 1943; Doctor of Philosophy, University of Chicago, 1952; Master of Arts (honorary), Harvard University, 1958; Master of Arts (honorary), Oxford (England) University, 1972.
He is considered an eminent scholar of Dutch art and more specifically of Rembrandt, Frans Hals, and Jacob van Ruisdael. He served in the Naval Reserve during World World War II, starting in his Junior year of college, and in active duty in the Pacific Theater from 1942 to 1946. Slive was appointed to his first teaching position at Oberlin College in 1950, but soon moved on to Pomona College, where he became an assistant professor of art and chair of department from 1952 to 1954.
While there, he published his first book, Rembrandt and His Critics, 1630–1730.
In 1954, he joined Harvard University, where he became a full professor seven years later in 1961. He was appointed chair of the Department of Fine Arts in 1968 until 1971.
He lectured as Slade Professor at Oxford University during the 1972/1973 academic year. In 1973, Slive was appointed Gleason Professor of Fine Arts and later concurrently became Director of the University"s Harvard Art Museums in 1975.
He was the founded director under the museum"s creation and expansion of the Arthur M. Sackler Museum.
He retired emeritus from Harvard in 1991 as the Elizabeth and John Moore Cabot Founding Director of the Harvard University Art Museums. In 2014, Slive was bestowed the honorary degree of Doctor of Arts from Harvard University for his contributions to the world of fine art
( No old master or modern artist begins to match the vari...)
(Jacob van Ruisdael is the preeminent Dutch landscape pain...)
( Although the extensive literature on Rembrandt could fi...)
( Windmills were ubiquitous in seventeenth-century Hollan...)
( Frans Hals is the most authoritative and perceptive stu...)
(Frans Hals (born sometime between 1581 and 1585, died in ...)
(Dutch painting in its prime is one of the great achieveme...)
(Dutch painting in its prime is one of the great achieveme...)
(My greatest debt in the writing of this book is to my tea...)
(Frans Hals, National Gallery of Art Exhibit Washing, D.C....)
(2 oversized softbound volumes)
(Book by Slive, Seymour)
(Book by Slive, Seymour)
(Book by Slive, Seymour)
(Book by Seymour Slive)
(1982. 4°. With numerous b/w and color illustrations. 271 ...)
Trustee Solomon R. Guggenheim Foundation, since 1978, Norton Simon Museum, 1989-1991. Board directors Burlington magazine Foundation, since 1987. Lieutenant (junior grade) United States Naval Reserve, 1943-1946, PTO. Fellow American Academy Arts and Sciences.
Member Karel van Mander Society (honorary), College Art Association (director) 1958-1962, 65-69), Renaissance Society, Dutch Society Sciences (foreign member), British Academy (correspondent fellow).
Married Zoya Gregorevna Sandomirsky, June 29, 1946. Children: Katherine, Alexander, Sarah.