AN ANGOULEME AWARD WINNER RETURNS WITH A PARABLE ABOUT LIFE IN THE ART WORLD "The Making Of" is the follow-up to international sensation Brecht Evens's Eisner-nominated debut, "The Wrong Place." With lush watercolors and his characteristic wit, Evens details the fumbling, amateurish foibles of the participants of a small art festival in the Flemish countryside. Pieterjan is i...(展开全部)

AN ANGOULEME AWARD WINNER RETURNS WITH A PARABLE ABOUT LIFE IN THE ART WORLD "The Making Of" is the follow-up to international sensation Brecht Evens's Eisner-nominated debut, "The Wrong Place." With lush watercolors and his characteristic wit, Evens details the fumbling, amateurish foibles of the participants of a small art festival in the Flemish countryside. Pieterjan is i...(展开全部)

林·亨特（Lynn Hunt）获斯坦福大学哲学博士学位，加利福尼亚大学洛杉矶分校欧洲现代史欧根·韦伯（Eugen Weber）讲席教授。著有、编有若干著作，包括最近的《发明人权》（Inventing Human Righis，2007）和《度量时间，制作历史》（Measuring Time，Making Histony，2008）。其与他人合写的有关18世纪早期欧洲之宗教宽容的著作在印刷中。 托马斯·R. 马丁（Thomas R. Martin）获哈佛大学哲学博士学位，圣十字学院古典学杰里迈亚·奥康纳（Jeremiah O'Connor）讲席教授。著有《古典希腊的主权与硬币》（Sovereignty and Coinage in Classical Greece，1985）、《古代希腊》（Ancien Greece，1996，2000）。“珀修斯：古...(展开全部)

克里斯托弗·道森（Christopher Dawson, 1889-1970），英国当代著名的文化哲学家、历史学家、文化史学家和社会学家。代表著作有《神祇时代》《欧洲的形成：欧洲统一史导论》《理解欧洲》《世界历史的动力》等。道森以文化史、文化哲学、宗教哲学研究闻名于世， 横跨历史学、社会学、人类学等多个领域，是20世纪知识分子的典范。

This study discusses basic questions about Rubens's art and life, studies two of his bacchic paintings in detail and describes him in a less easy and more identifiably modern predicament.

Reconsiders the concensus on Rubens as a successful, prolific, and facile court painter who is dwarfed by the achievements of his near-contemporary Rembrandt. This book scrutinizes the assumptions upon which this image is built, and discovers an artist involved with ambivalence and ambiguity.

克里斯托弗·道森（Christopher Dawson, 1889-1970），英国当代著名的文化哲学家、历史学家、文化史学家和社会学家。代表著作有《神祇时代》《欧洲的形成：欧洲统一史导论》《理解欧洲》《世界历史的动力》等。道森以文化史、文化哲学、宗教哲学研究闻名于世， 横跨历史学、社会学、人类学等多个领域，是20世纪知识分子的典范。

Reconsiders the concensus on Rubens as a successful, prolific, and facile court painter who is dwarfed by the achievements of his near-contemporary Rembrandt. This book scrutinizes the assumptions upon which this image is built, and discovers an artist involved with ambivalence and ambiguity.