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Nawoord Summary Bibliografie Herkomst Afbeeldingen VU Research Portal Het huis en de regels van het denken de Mare, H. 2003 document version Publisher's PDF, also known as Version of record Link to publication in VU Research Portal citation for published version (APA) de Mare, H. (2003). Het huis en de regels van het denken: Een cultuurhistorisch onderzoek naar het werk van Simon Stevin, Jacob Cats en Pieter de Hoogh. General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. E-mail address: [email protected] Download date: 02. Oct. 2021 NAWOORD Nawoord Dichterbijhuis:overhetnutvancultuurhistorischesensibiliteit ‘Wanneermentegenoveruonsvakalsluxe-vakbetitelt,ishetaanutetoonen,dateen samenlevingmoeilijkgevaarlijkerkandolen,danwanneerzijdenwegtothaareigenkunstwerken heeftverlorenendathetbehoedendierwerkenenhetvrijhoudenvandatpadeenculturelearbeid isvanhetgrootstebelang.’H.vandeWaal, TraditieenBezieling 1946,p.33 ‘Hetlijktmijdathierproblemenliggendie(…)pasgenuanceerdeninderdaadhistorisch verantwoordkunnenwordengesteldenbeantwoord,wanneermendehistorischeontwikkelingvan onzegedachtenoverbeeldendekunstinhetonderzoekbetrekt…’.JanA.Emmens,’Dekinderen vanHomerus(1966)’,1981-IIG,p.87. Hetklassiekeverhaalkentgeenlosseeinden.Allenarratievelijnendieinhetbegin zijnuitgezetmoetennadeontknopingookzelftoteengoedeindewordengebracht. Dewijzewaaropdeafhechtingzichvoltrektzalbijdedetectiveandersdanbijhet sprookjezijnenhangtvandeconventiesvanhetgenreaf.Ineengoedonderzoekis hetnietanders.Ookdaarwordenaanhetbeginproblemenopgeworpenenlijnen uitgestippelddieheteigenlijkeonderzoeksverhaalzullensturen.Inmijngevalbetrof heteencultuurhistorischenarratiewaarindriedomeinenvanhetvroegmoderne Hollandwerdengepresenteerd:dekunstvanhetbouwen,dekunstvanhetwelleven endekunstvanhetschilderen.Hethistorischmateriaalmoestdaarzijneigenwerk doen.Zoontroldendelotgevallenvandevroegmodernekunstenzichelkineeneigen subplot. Maarhetgeheelwerd–hoeonzichtbaarwellichtook–geregisseerdvanuitde keuzes,demogelijkhedenendebeperkingendiebijhetbeginvandezestudie aangekondigdzijn.Inhetvijfdehoofdstukhebikdeverschillendelagenvandit cultuurhistorischonderzoekafgehecht.Hetmateriaaliseerstmeteenbreed cultuurhistorischkaderinverbandgebracht.InhetvroegmoderneEuropablekende natuurfilosofie,hetvisuelewetenendeburgermetelkaarverwevenineengroter netwerk.Vervolgenshebikdevraagnaardestatusvanhetcultuurhistorisch onderzoekgesteld.DoorinenkelestappendeNederlandsekunst-en architectuurgeschiedenisinEuropeesperspectiefteplaatsen,konikeenprobleem oplossendatmij(endezestudie)langheeftbeheerst.Achterdeobjectiviteitende rationaliteitdiedeNederlandsekunst-enarchitectuurgeschiedenisvanafdejaren zeventigvoorwenddebleekeenneo-platonismeschuiltegaandatvervolgensinhet verledenteruggevondenwerd.Ditimaginaireverledendiendealsspiegelvoorde eigenwetenschappelijkestatusinhetheden.Afkerigvaneendergelijkeoperatieve omgangmetdegeschiedeniskwamik–geruggesteunddoorkunsthistoricials Warburg,VandeWaalenEmmens–opeenmeergecompliceerdegenealogieterecht. Watikwildeontwarrenwarendewegenvanhetdenkenendecultuurproductenin hetdomeinvandekunsten.Hunlotgevallenblekenvaaknietsynchroontelopenen eigenweerbarstighedentevertonen.Maarerwarenook 709 momentendatzemetelkaarverknooptraakteneneennieuweschikkingtroffen.Vaak washetslechtseentijdelijkeverstrengelingengingzijgepaardmetmerkwaardige tussenproductendieeenkortlevenwarenbeschoren.Alleenviaeengenealogische analysewashetmogelijkdezewisselendeverhoudingentebenoemenenaantetonen hoezeertijdenensnelhedenindekunstendoorelkaarlopen.Eendergelijkinzichtin hetreliëfvandecultuurstaathaaksopdealledaagseervaring.Cultuurproducten wordennueenmaalgepercipieerdbinneneenmentaalregimewaarvande toeschouwerzichdoorgaansnietofnauwelijksbewustis.Onzeopvattingvankunst als‘apart’verschijnselisdaareenvoorbeeldvan.Dezeopvattingisechterniet universeel,maarberustopeenconventiedieeerstindeachttiendeeeuwwerd geïnstalleerdendus–cultuurhistorischbezien–vanvrijrecentedatumis.Onze periodiseringvandekunstenisevenzeerhistorischgedateerdenheefthaarwortelsin denegentiendeeeuw.Onzeopvattingoverdecentralerolvandetoeschouwerbijhet begrijpenvaneenkunstwerkiszelfsvanheelrecentedatum.Hetzoekennaar esthetischeopvattingenvankunstliefhebbersofpubliekineerdereperiodenisdusin drieopzichteneenanachronistischebezigheid.Maarinwerkelijkheiddoenonze ‘hedendaagse’opiniesernietzoveeltoealshetomeencultuurhistorischstudievande kunstengaat.Zezijnhoogstensinteressantalsobjectvaneencultuurhistorisch onderzoek.Ikwildanookafsluitenmetdriepuntendieikcruciaalvoordetoekomst vaneencultuurhistorischestudiederkunstenacht. Andersdanvaakwordtbeweerdheeftzichgeen‘linguisticturn’enevenmineen ‘visualturn’inhetwetenschappelijkdenkenvoorgedaan.Demassaleaandachtdie zichvanafdejarenzestigvoortaalenvanafdejarentachtigvoorhetbeeld manifesteerde,komtzelfuiteen‘socialturn’voort.‘TheRiseoftheSocial’–diezich voorheteersttegenhetmiddenvande18 eeeuwaandiende 1–werdvoor wetenschappersvandiversedisciplineseenvanzelfsprekendemanieromhetheden, detoekomstenhetverledentebezien. 2Inmiddelsisdezesocialeblikgeheelenal geïnternaliseerd:hetkijkenvanuitmensen,groepenofindividueniseendominant beschouwingsperspectiefdatgeenexplicatiebehoeftenzichzelfeenvanzelfsprekende verklaringskrachttoedicht.‘Alomzienweindegeschiedschrijvingdeterugkeervan het“ik”endeexaltatievanhetindividuals agens vandegeschiedenis.Steedsvaker wordtonzeperceptievanprocessen,structurenenconjuncturenrondemblematische ofexemplarischefigurenuitdegeschiedenisgeorganiseerd,’zotypeertFrijhoffdeze tendensindegeschiedschrijving 3. Indekunstgeschiedenisheeftzicheenzelfdewendingvoorgedaan.Terwijlde belangstellingvoordesocialeinbeddingvandekunstenindevijftigerjareneen politiekkarakterhadenomdieredenooknauwelijksvoetaandegrondkreeginde bestaandekunstgeschiedenis,werdhetsocialelaterdominant.Datkwamondermeer doordat,zoalsSummersin1981betoogde,de‘natuurlijke’ 710 verklaringsgrond(hetschilderijalsimitatievandewerkelijkheiderbuiten)irrelevant gewordenwas.‘Whenpaintingwasconcernedwithillusion,orwiththecomposition ofillusion,itsmeansweretreatedasiftheyweretransparent,eveniftheywerefairly “painterly’’.Whenthemeanswere not transparent,whenitbegantofeltthat paintings were two-dimensionalsurfaceswithcoloredmarksplaceduponthem,the criticismofpaintingturnedawayfromvisiblenatureasanabsolutetoother equally absolutealternatives.Whenobjectivenaturebegantovanishbehindtheexamination ofknowledge,thecriticismofpaintingveeredtowardabsolutesintheconstituing subject.“Feeling”isperhapsthesimplestofthese,butvariouspsychologicaltheories havealsoprovidedthekindoffoundationforpaintingonceprovidedbynature.Even suchideasastheliteral,theminimal,andtheconceptual,althoughopposedtothe “natural”inatraditionalsense,retainthatconcernwiththeabsolutethatnatureonce provide.’ 4Inplaatsvanhetbeeldteanalyserenophetmomentdatzijn verklaringsgrondverdwijnt,inplaatsvandevraagtestellennaardestatusvan‘kunst’ (metnameschilderkunst)indeWestersecultuur,weekmenuitnaareen menswetenschappelijkevraagstellingdieallesonderzoekt,behalvehetbeeld.Het resultaatisdathetkunstwerkengeenvolwaardigonderzoeksobjectmeerzijn. Thansiscommunicatiedecentraleterm.Allesdraaitomhetuitwisselenvantekens (taal,beeld)alsessentievanhetlevenmetdevormgevingvanhetindividualsdoel. Wiecultuurprimairbeschouwtalseenvoortbrengselvandesocialeinteractietussen mensenenwoordenofbeeldenslechtsalsvoertuigenrespectievelijkvormgevingvan onswerkelijkezelfziet,vindthetwellichtkrenkenddatonderdelenvandecultuur– schilderijen,films,tekeningen,documentaires,bouwwerken,literatuur– gehoorzamenaaneigenwetmatighedeneneeneigentemporaliteithebben.Wiede mensendesocialeinteractietotmaatstafneemtkanzichwellichtmoeilijkvoorstellen datdezecultuurproducteneenlevensduurkennendieonafhankelijkisvanenuitstijgt bovendeperiodediehetsterfelijkindividugegevenis.Inelkgevalstaateen dergelijkegeschiedenisvandelangeduuropgespannenvoetmetdeeigenwaanvan hetmodernesubjectdatzichaangeenenkelehogeremachtbuitenzichzelfwil onderwerpen.Geenwonderdatveelwetenschapperseendergelijkehistorische benaderingvandecultuurverwerpenmettermenalsvrijheidsberoving,aantastingvan deindividueleruimteendeknechtingvandevrijewil. 5 Opgrondvandewetenschappelijkepublicatiesdieikinmiddelsonderogenheb gehad,kanikslechtsconcluderendatde‘socialturn’toteenvervlakkingheeftgeleid indekennisproductiemetbetrekkingtotdekunsten.Denieuwevragendiede afgelopendertigjarenvanuithetsocialegesteldwerden,hebbendeklokintheoretisch opzichtflinkteruggedraaid.Demenselijkecommunicatievormtnuhetcentrumwaar nietalleenmaatschappelijkevrageninhedenenverleden,maarookalleculturele vragenomheendraaien.Dat‘hetbewustzijn’nietdekernisvanhet 711 bestaan(Freud),datideeënnietdemotorvormenvandegeschiedenis(Marx),datde menshetproductvaneennatuurlijkeselectieis(Darwin),‘degeschiedenis’geendoel heeft(Althusser)endatdeaardeniethetcentrumisvanhetheelal(Copernicus): 6al dierevolutionaireinzichtenwordendoorhetprimaatvandecommunicatiebuitende
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  • El Greco, a Mediator of Modern Painting
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