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8612356.Pdf (5.81 INFORMATION TO USERS This reproduction was made from a copy of a manuscript sent to us for publication and microfilming. While the most advanced technology has been used to pho­ tograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. Pages in any manuscript may have indistinct print. In all cases the best available copy has been filmed. The following explanation of techniques is provided to help clarify notations which may appear on this reproduction. 1. Manuscripts may not always be complete. When it is not possible to obtain missing pages, a note appears to indicate this. 2. When copyrighted materials are removed from the manuscript, a note ap­ pears to indicate this. 3. Oversize materials (maps, drawings, and charts) are photographed by sec­ tioning the original, beginning at the upper left hand comer and continu­ ing from left to right in equal sections witli small overlaps. Each oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or in black and white paper format.* 4. Most photographs reproduce acceptably on positive microfilm or micro­ fiche but lack clarity on xerographic copies made from the microfilm. For an additional charge, all photographs are available in black and white standard 35mm slide format * *For more information about black and white slides or enlarged paper reproductions, please contact the Dissertations Customer Services Department. 'IMwBTsily Mkrafihiis DM . IntemaMoiia] 8612356 Chapman, Dana L. DUTCH COSTUME IN PAINTINGS BY DUTCH ARTISTS: A STUDY OF WOMEN’S CLOTHING AND ART FROM 1600 to 1650 The Ohio State University Ph.D. 1986 University Microfilms I nternstions!300 N. Zeeb Road, Ann Arbor, Ml 48106 PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V 1. Glossy photographs or pages. 2. Colored illustrations, paper or______ print 3. Photographs with dark background 4. Illustrations are poor copy______ 5. Pages with black marks, not original copy. 6. Print shows through as there is text on both sides of page. 7. Indistinct, broken or small print on several pages 8. Print exceeds margin requirements _ 9. Tightly bound copy with print lost_______ in spine 10. Computer printout pages with indistinct print. 11. Page(s) ________ lacking when material received, and not available from school or author. 12. Page(s)____________seem to be missing in numbering only as text follows. 13. Two pages num bered . Text follows. 14. Curling and wrinkled p______ ag es 15. Dissertation contains pages with print at a slant, filmed as received_________ 16. O t h e______________________________________________________________________ r University Microfilms International DUTCH COSTUME IN PAINTINGS BY DUTCH ARTISTS; A STUDY OF WOMEN'S CLOTHING AND ART FROM 1600 TO 1650 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Dana L. Chapman, B.A., M.S. ***** The Ohio State University 1986 Dissertation Committee: Approved by Lois E. Dickey Mathew Herban Department of Textiles and Clothing Esther Meacham ACKNOWLEDGMENTS I would like to express the deepest gratitude and appreciation to my adviser, Dr. Lois E. Dickey. Her learned guidance and constant encouragement on this project and throughout my graduate studies at The Ohio State University made the completion, of the dissertation possible. The help and suggestions provided by my committee members, Drs. Mathew Herban and Esther Meacham, were most enlightening. Thanks also go to my family, especially my husband, Michael, who happily supported and prompted my efforts in innumerable ways. In addition, I am grateful to my parents, Barbara and Robin Lacy, for their patience and faith in me; my sister, Kimberly, for her understanding; and my mother-in-law, Jan, who also diligently proofread the document several times. I would also like to acknowledge my colleagues in the Department of Home Economics and Family Ecology at the University of Akron. The word processing equipment which Dr. Mary C. Rainey graciously made available to me greatly simplified the task of writing the dissertation. I want to ii thank my dear friend and colleague, Kerry Albanese, for the emotional support she provided throughout the duration of this project. I am indebted to my good friends, Mike and Donna Taylor who did the drawings which appear in this document. They worked hard and under some pressure to do a fine job for me. Ill VITA November 13, 1953 ...............Born - Denver, Colorado 19V6 ........................... B.A., Miami University, Oxford, Ohio 1976-1977 ....................... Assistant Manager, House of Fabrics, Columbus, Ohio 1977-1978 ....................... Graduate Assistant, Department of Textiles and Clothing, The Ohio, State University, Columbus, Ohio 1978............................. M.S., Home Economics The Ohio State University Columbus, Ohio 1978-1980 ....................... Graduate Assistant, Department of Textiles and Clothing, The Ohio State University, Columbus, Ohio 1980-Present. .... .......... Instructor, Home Economics and Family Ecology, University of Akron, Akron, Ohio FIELDS OF STUDY Major Field: Textiles and Clothing Minor Fields: History of Art Home Economics Education IV TABLE OF CONTENTS ACKNOWLEDGMENTS........................................ Ü VITA ................................................... iv LIST OF TABLES . ................................. vii LIST OF F I G U R E S . ..................................viii LIST OF PLATES ........................ ix CHAPTER PAGE I. INTRODUCTION................................. 1 Review of Literature and Statement of Objectives ............................. 8 Organization of the Dissertation ........ 15 II. METHODS .............................,,.... 17 Historical Research...................... 17 The Use of Visual Imagery................ 20 Flemming's Model for Artifact Study. 24 Procedure.................................26 III. TEMPORAL AND CULTURAL SETTING ............... 44 Historical Development ................... 45 Cultural Environments of the Netherlands............ 59 Daily Life in the United Provinces .... 78 IV. ARTISTIC SETTING................................88 Baroque Painting ......................... 90 Dutch Painting; 1600 - 1650.. ........... 95 V V. RESULTS AND DISCUSSION ........ ............ 118 Paintings Used in the Study................ 119 Results and Discussion by Research Objectives ................... 122 VI. SUMMARY, IMPLICATIONS AND QUESTIONS FOR FURTHER STUDY ............ 201 S u m m a r y ................................... 201 Implications ............................. 234 Questions for Further Study................ 239 APPENDICES A. Sample of Preliminary Data Recording Form . 243 B. Samples of Data Recording Forms Used in the Present Study ............................. 245 C. Outline of Form Used for Initial Organization of Data and Preparation of Costume Inventory ........................... 249 D. Form for Initial Organization of Costume Inventories ..................... 251 E. Form for Tabulation Dress Forms by Research Variables and Subperiod.............. 254 F. Chronology of Events as Discussed in Chapter III, Temporal and Cultural S e t t i n g ....................................... 256 G. Summaries of Descriptive Information for the Four Dress Forms in the Study .... 258 BIBLIOGRAPHY ........................................ 269 VI LIST OF TABLES TABLES PAGE 1. Artists Studied by Subperiod, Painting Type or School, and C i t y ............. 120 2. Observed Frequencies of Dress Form A by Research Variables ....................... 138 3. Observed Frequencies of Dress Form B by Research Variables......................... 139 4. Observed Frequencies of Dress Form C by Research Variables ....................... 141 5. Observed Frequencies of Dress Form D by Research Variables ....................... 142 6. Observed Frequencies of Dress Forms by Painting T y p e .................................. 182 7. Observed Typical Attributes of Dress Form A by Subperiods in the Study...................259 8. Observed Typical Attributes of Dress Form B "The Flyergown" by Subperiods in the S t u d y ......................... 261 9. Observed Typical Attributes of Dress Form B "The Pseudogown" by Subperiods in the S t u d y .......................................... 263 10. Observed Typical Attributes of Dress Form C by Subperiods in the Study, « .............. 265 11. Observed Typical Attributes of Dress Form D by Subperiods in the Study...................267 V I 1 LIST OF FIGURES FIGURES PAGE 1. Dress Form A .................................125 2. Dress Form B The Flyergown Redrawn from Cornelia Booght Claisdr. (Frans Hals. 1637. Haarlem, Frans Hals Museum) ........................... 127 3. Dress Form C Redrawn from Anna Bouden Courten. (Soloman Mesdach. 1619. Amsterdam, Rijksmuseum ................................. 129 4. Dress Form D Redrawn from The Pig Butcher. (Jan Victors. 1648. Amsterdam, Rijksmuseum . 131 5. Outerwear ................................... 132 5. Caps and Hats . ...........................136 7. Form for Recording Data Relevant to the Painting and the Costume Attributes . 246 8. Form for Recording Data Relevant to the Research Variables ........ '............... 247 9. Form for Recording Supplemental
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