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FREE THE ART OF DESCRIBING: DUTCH ART IN THE SEVENTEENTH CENTURY PDF Svetlana Alpers | 302 pages | 15 Apr 1984 | The University of Chicago Press | 9780226015132 | English | Chicago, IL, United States Dutch Golden Age Painting Movement Overview | TheArtStory Artistic production in the long 17th century in the Dutch Republic radically reenvisioned the forms of visual culture and its consumption. In the wake of the Dutch Revolt of that severed the formerly conjoined Low Countries into the largely Catholic regions of Flanders, controlled by the Spanish Habsburgs, and the predominately Protestant Dutch Republic, which fought for the political independence that it officially achieved inDutch art developed a distinctive, if not revolutionary, character. During the period, there was a multifaceted and unprecedented flowering of diverse secular genres, from still life to landscape to genre image to portrait. Each of these types of subjects had historical precedent, but they had not existed as independent genres complete with individuals who specialized in the creation of just one category of art. Many artists employed a highly naturalistic mode of representation when crafting these secular genres, as did those who produced the histories and biblical narratives that also remained popular. In paintings and prints, artists largely strove for naturalistic representations of space, volumetric renderings of objects, seemingly accurate depictions of light, and unidealized formulations of the human body, especially the face. Like the new forms, art was consumed in way that it had not been previously. The relatively wide distribution of wealth in the Dutch Republic led to more people, and people of different social levels, buying art than had occurred previously in Europe. In turn, the consumption of art operated on an unprecedented scale. Several million new paintings were created in the region in a little over one hundred years. Aside from portraiture, few of these objects were created The Art of Describing: Dutch Art in the Seventeenth Century commission. Rather, various indirect methods of exchange emerged, creating an open art market. Several reliable texts provide readers with a broad survey of the arts of the Dutch Golden Age. At five hundred folio pages, Haak provides the most extensive and comprehensive introduction to painters of the period. In general, Haak frames the subject geographically by grouping artists by municipal region. Slive takes a more biographical approach, emphasizing individual stylistic developments. Haak and Slive treat paintings and painters exclusively. Each of the three texts explores 17th-century Dutch art in local cultural conditions and artistic traditions. In the process, each source tends to isolate Dutch art from other aesthetic interests and developments current in Europe. Haak, Bob. New York: Stewart, Tabori, and Chang, Divided chronologically into three parts, this book is organized geographically. This organization enables the inclusion of more artists than one finds in other sources. Haak treats painters beyond those in the primary urban centers, like the artists active in Dordrecht and Middleburg who are not usually covered in a nonspecialist study. Slive, Seymour. Dutch Painting, — First published inrevised in and Slive presents accepted, established positions on major themes and figures. The text alternates in focus between biographical treatment of major artists and explorations of genres of pictures. Thirteen The Art of Describing: Dutch Art in the Seventeenth Century the seventeen chapters cover the period between andleaving cursory discussion of lateth- and 18th-century art. Earlier editions of the book were coauthored with Jakob Rosenberg and E. Originally published in Westermann utilizes a thematic organization. The text shifts focus from the artists to interpretation of images. In each chapter, Westermann clearly and concisely conveys complex issues in a way that is accessible to all levels of readers. Westermann integrates nonrealist pictorial trends and styles more successfully The Art of Describing: Dutch Art in the Seventeenth Century is done by other comparable texts. Likewise, she treats art from the entire period relatively equally. Users without a subscription are not able to see the full content on this page. Please subscribe or login. Oxford Bibliographies Online is available by subscription and perpetual access to institutions. For more information or to contact an Oxford Sales Representative click here. Not a member? Sign up for My OBO. Already a member? Publications Pages Publications Pages. Subscriber sign in You could not be signed in, please check and try again. Username Please enter your Username. Password Please enter your Password. Forgot password? Don't have an account? Sign in via your Institution. You could not be signed in, please check and try again. Sign in with your library card Please enter your library card number. Related Articles Expand or collapse the "related articles" section about About Related Articles close popup. Introduction Artistic production in the long 17th century in the Dutch Republic radically reenvisioned the forms of visual culture and its consumption. General Overviews The Art of Describing: Dutch Art in the Seventeenth Century reliable texts provide readers with a broad survey of the arts of the Dutch Golden Age. How to Subscribe Oxford Bibliographies Online is available by subscription and perpetual access to institutions. Jump to Other Articles:. Oxford University Press. All rights reserved. Powered by: PubFactory. 17th-Century Dutch Art - Renaissance and Reformation - Oxford Bibliographies Alpers' book defines Dutch art by contrast with the Italian ideal. Where Italian art is narrative, Dutch art is descriptive and, she feels, without the concealed iconographic meanings recent criticism has found there. Where Italian art depends on the Alberti model of looking at the world from a particular vantage point and The Art of Describing: Dutch Art in the Seventeenth Century if through a window, Dutch art does not use the framed image, the clearly located viewer. She ties the idea of picturing in with optics-with seeing itself-and with mapping. If there is deception, she says, it is in the illusion of picture making itself: "northern images do not disguise meaning or hide it beneath the surface but rather show that meaning by its very nature is lodged in what the eye can take in-however deceptive that might be" xxiv. She has some interesting things to say about multiple views of one figure, not as a way of showing narrative, but as a way of enabling the viewer to see all around a figure at the same time She mentions the figure come fratelli of Pollaiuolo's Martyrdom of St. Sebastian, the twisted figure or figura serpinata where we see back and front, and Picasso's multi-faceted figures. Here at Walmart. Your email address will never be sold or distributed to a third party for any reason. Sorry, but we can't respond to individual comments. If you need immediate assistance, please contact Customer Care. Your feedback helps us make Walmart shopping better for millions of customers. Recent searches Clear All. Enter Location. Update location. Learn more. Report incorrect product information. Svetlana Alpers. Walmart The Art of Describing: Dutch Art in the Seventeenth Century Free delivery Arrives by Wed, Oct Pickup not available. Add to list. Add to registry. The art historian after Erwin Panofsky and Ernst Gombrich is not only participating in an activity of great intellectual excitement; he is raising and exploring issues which lie very much at the centre of psychology, of the sciences and of history itself. Svetlana Alpers's study of 17th-century Dutch painting is a splendid example of this excitement and of the centrality of art history among current disciples. Professor Alpers puts forward a vividly The Art of Describing: Dutch Art in the Seventeenth Century thesis. There is, she says, a truly fundamental dichotomy between the art of the Italian Renaissance and that of the Dutch masters. Italian art is the primary expression of a 'textual culture, ' this is to say of a culture which seeks emblematic, allegorical or philosophical meanings in a serious painting. Alberti, Vasari and the many other theoreticians of the Italian Renaissance teach us to 'read' a painting, and to read it in depth so as to elicit and construe its several levels of signification. The world of Dutch art, by the contrast, arises from and enacts a truly 'visual culture. She herself has the verve, the knowledge, and the sensitivity to make us see familiar The Art of Describing: Dutch Art in the Seventeenth Century in a new light. About This Item. We aim to show you accurate product information. Manufacturers, suppliers and others provide what you see here, and we have not verified it. See our disclaimer. Gombrich, New York Review of Books "The art historian after Erwin Panofsky and Ernst Gombrich is not only participating in an activity of great intellectual excitement; he is raising and exploring issues which lie very much at the centre of psychology, of the sciences and of history itself. Italian art is the primary expression of a 'textual culture,' this is to say of a culture which seeks emblematic, allegorical or philosophical meanings in a serious painting. Gombrich, New York Review of Books. Specifications Language English. Write a review See all reviews Write a review. Average Rating: 3. August 31, See more. Reviewed by michaelm michaelm Written by a librarything. Ask a question Ask a question If you would like to share feedback with us about pricing, delivery or other customer service issues, please contact customer service directly. Your question required. Additional details. Send me an email when my question is answered. Please enter a valid email address. I agree to the Terms and Conditions. Cancel Submit. Pricing policy About our prices. We're committed to providing low prices every day, on everything. So if you find a current lower price from an online retailer on an identical, in-stock product, tell us and we'll match it.

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