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Results: 9
Number of items: 9
  • Open Access
    Aono, J. (2011). Imitation and innovation: Dutch genre painting 1680-1750 and its reception of the Golden Age. [Thesis, fully internal, Universiteit van Amsterdam].
  • Aono, J. (2009). Ennobling daily life: a question of refinement in early eighteenth-century Dutch genre painting. Simiolus, 33(4), 237-257.
  • Aono, J. (2008). Reproducing the Golden Age: copies after seventeenth-century Dutch genre painting in the first half of the eighteenth century. Oud-Holland, 121, 1-34. https://doi.org/10.1163/187501708787335938
  • Aono, J. (2007). 'Enchanted by a Woman Scrubbing a Kettle. A Study on the Pictorial Tradition of 17th- and Early 19th-century Dutch Genre Painting'. The National Art Center, Tokyo, News, 4, 3-4.
  • Aono, J. (2007). Bijdragen. In Exhibition Catalogue, Milkmaid by Vermeer and Dutch Genre Painting - Masterworks from the Rijksmuseum Amsterdam The National Art Center.
  • Aono, J. (2006). 'Willem van Mieris, Armida bindt de slapende Rinaldo, 1709', 'Willem van Mieris, Een keukenmeid en een visverkoper in een venster, 1713', 'Willem van Mieris, Kruidenierswinkel, 1717' and 'Carel de Moor, Jonge vrouw met een vis in een venster'. In E. Mai, S. Paarlberg, & G. J. M. Weber (Eds.), De Kroon op het Werk. Hollandse Schilderkunst 1670-1750 [Exhibition Catalogue] (pp. 202-207-212-213). Wallraf-Richartz-Museum & Fondation Corboud/Dordrechts Museum/Museumslandschaft Hessen Kassel.
  • Aono, J. (2006). 'Looking back to the Dutch Golden Age. Early eighteenth-century painting by Willem van Mieris'. In E. Mai (Ed.), Holland nach Rembrandt. Zur niederländischen Kunst zwischen 1670 und 1750 (pp. 225-246).
  • Aono, J. (2006). 'The "decline" of the Golden Age? Reconsidering Dutch Genre Painting between 1680-1750'. Japan-Netherlands Newsletter, 118(July), 1-3.
  • Aono, J. (2004). The shop painting of Willem van Mieris (1662-1747): inheritance and innovation of seventeenth-century Dutch genre painting (in Japanese). In Studies in Art: Annual Report 2003. The Kajima Foundation for the Arts (pp. 172)
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