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Realist novels are celebrated for their detailed attention to ordinary life. But two hundred years before the rise of literary realism, Dutch painters had already made an art of the everyday--pictures that served as a compelling model for the novelists who followed. By the mid-1800s, seventeenth-century Dutch painting figured virtually everywhere in the British and French fiction we esteem today as the vanguard of realism. Why were such writers drawn to this art of two centuries before? What does this tell us about the nature of realism? In this beautifully illustrated and elegantly written book, Ruth Yeazell explores the nineteenth century's fascination with Dutch painting, as well as its doubts about an art that had long challenged traditional values. After showing how persistent tensions between high theory and low genre shaped criticism of novels and pictures alike, Art of the Everyday turns to four major novelists--Honoré de Balzac, George Eliot, Thomas Hardy, and Marcel Proust--who strongly identified their work with Dutch painting. For all these writers, Dutch art provided a model for training themselves to look closely at the particulars of middle-class life. Yet even as nineteenth-century novelists strove to create illusions of the real by modeling their narratives on Dutch pictures, Yeazell argues, they chafed at the model. A concluding chapter on Proust explains why the nineteenth century associated such realism with the past and shows how the rediscovery of Vermeer helped resolve the longstanding conflict between humble details and the aspirations of high art.
Between 1790 and 1910, Danish painters developed a national school of art that matched the artistic centres of France, Germany and Britain. The range of outstanding works created by Nicolai Abildgaard, Jens Juel, Christoffer Wilhelm Eckersberg, Christen Købke, P. S. Krøyer and Vilhelm Hammershøi reflect and refract the great stylistic tendencies of European art of the 19th century, including Classicism, Romanticism, Impressionism and Symbolism. Illustrated with over two hundred key works of art drawn from the leading Danish collections, this is the only book available in English that surveys Danish painting across the 19th century. Written by a major scholar in the field, and featuring all the icons of the Danish Golden Age, this is an essential addition to all art libraries.
This is the first survey of the diverse critical understandings of seventeenth-century Dutch art from its origins to the present. Appreciated in the eighteenth century by amateurs and collectors, Dutch art during the Romantic age became a focus of ideological interest. From the late nineteenth century onward, it developed into a subject of scholarly research, indeed one of the foundational fields of art history in the modern era. This study provides insight into the various artistic, literary, political, and philosophical approaches that Dutch painting has inspired over the ages.
During the seventeenth century, Dutch artists were unparalleled in their dedication to depicting ordinary people doing everyday things. Genre painting was the preeminent expression of this dedication, offering candid glimpses into the peasant cottages and village courtyards of the Dutch Golden Age, each painting lit with the period's vibrant color palette and rich with radiant natural light. This superb collection by the curators of an accompanying exhibition focuses on a selection of works of Dutch genre painting from the Royal Collection's holdings. Johannes Vermeer, Jan Steen, Gerrit Dou, Gabriel Metsu, and Pieter de Hooch are among the masters whose works are finely reproduced here. While the subject matter may be ordinary--the preparation of food, the bustle of a busy market, the enjoyment of taverns and town festivities--the meticulously documented details often allude to a work's deeper meaning or to moral messages that would have been familiar to the contemporary viewer. The book explores these hidden moral messages, as well as the artists' penchant for clever visual puns. Readers interested in the Dutch Golden Age or seventeenth-century art will welcome this volume. Individual essays on each painting, close-up photography showing important details, and a selection of comparative images add to the book's richness and provide valuable context.
This richly illustrated book provides an overview of all known Dutch and Flemish artists up to the nineteenth century who painted or drew flower pieces, or else made prints of them. Unlike many mainstream art historical studies, the book takes a truly comprehensive approach, including cases where only a single example is known or even if nothing of the artist’s other work appears to have survived. Containing highly instructive lists identifying the names of flowers, as well as insects and other animals, the book also discusses the earliest depictions of flower still life and the distinctive characteristics behind the development of floral arrangements in different periods, including the variation of the flowers, the variety of techniques used by artists, as well as an exploration of the symbolism behind the numerous plant and animal species this form of art portrays. Composed in Dutch, the text was translated into English by Judith Deitch and edited by Philip Kelleway. Publication of this book was made possible thanks to generous support of: • Dr. med. Bettina Leysen • Rose-Marie and Eijk van Otterloo and the Center for Netherlandish Art at the Museum of Fine Arts, Boston With additional support of the M.A.O.C. Gravin van Bylandt Stichting. See inside the book.
Aandacht voor o.a. de Haagse School, de romantici, de landschapschilders en genreschilders.
Is it possible to talk about Dutch art after 1680 outside the prevailing critical framework of the "age of decline"? Although an increasing number of studies are being published on the art and society of this period, genre painting of this era continues to be dismissed as an uninspired repetition of the art of the second and third quarters of the seventeenth century, known as the Dutch Golden Age. In this stunningly illustrated study, Aono reconsiders the long-dismissed genre painting from 1680-1750. Grounded in close analysis of a range of paintings and primary sources, this study illuminates the main features of genre painting, highlighting the ways in which these elements related to the painters' close connections to, on the one hand, collectors, and on the other, to classicism, one of the dominant artistic styles of that time. Three case studies, richly supplemented by a catalogue of 29 selected painters and their work, offer the first clear picture of the genre painting of the period while providing new insights into painters' activities, collectors' tastes and the contemporary art market.
Cornelis van Poelenburch was one of the very few painters of the Dutch Golden Age to acquire international renown during his lifetime. Only three Dutch artists were honoured with mentions by all of the seventeenth-century biographers who included Netherlandish artists, the others being Rembrandt and Gerrit Dou. His paintings were prized by well-to-do and often aristocratic collectors who were willing to pay high prices for them. Grand-Duke Cosimo II de' Medici, for example, kept four of Poelenburch's paintings in his private quarters and Stadholder Frederick Henry and his consort owned more works by him than any other Dutch artist. He was a pupil of the influential Utrecht painter Abraham Bloemaert, worked for eight years in Italy, and except for a period of four years when he lived in London and received an annual stipend from King Charles I, spent the rest of his life in Utrecht. Poelenburch's idyllic, mostly small-sized landscapes on copper or panel and done in a highly refined style and technique usually feature a 'history' a biblical, mythological or pastoral subject. Nowadays he is known primarily as the leading artist of the first generation of 'Italianate' landscape painters, but in his own time he was lauded mainly for his lively figures with their crisp contours and animated gestures. From the mid-nineteenth century, Poelenburch's paintings came to be dismissed as 'un-Dutch' and were subsequently neglected and forgotten, together with those of many other seventeenth-century painters who did not fit into the mould of 'Dutch realism'. This first comprehensive monograph on the artist includes a catalogue of his works, along with a discussion of all of his approximately 290 known paintings (all reproduced), and chapters covering his biography, the reception of his art in his own time and in later centuries, and his remarkable position on the seventeenth century art market.