• Willem Key (1516-1568). Portrait of a Humanist Painter, Pictura Nova. Studies in 16th- and 17th-Century Flemish Painting and Drawing. 17, Hans Vlieghe and Katlijne van der Stighelen eds. Turnhout (Brepols Publishers) 2011 - Intro (original) (raw)
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Art and Iconoclasm, 1525-1580: The Case of the North Netherlands
J.P. Filedt Kok et al. (eds.), Kunst voor de Beeldenstorm [Cat. Exhib., Amsterdam, Rijksmuseum], 1986
a m s t e r d MUSEUM a m Kunst 6® XdenstoA-^ CO =3 CUO _o (X5 •+-> 03 O Redactie J. P. Filedt Kok W. Halsema-Kubes W. Th. Kloek Metinleidingen door/with introductions by B. Dubbe en W. H.Vroom David Freedberg J.R.J.vanAsperendeBoer, M. FariesenJ. P. FiledtKok Staatsuitgeverij ' s -g r a V e n h a g e
Understanding art in Antwerp : classicising the popular, popularising the classic (1540-1580)
2011
On January 23-24, 2008 the University of Groningen hosted an international symposium entitled 'Understanding Art in Antwerp. Classicising the Popular, Popularising the Classic (1540-1580)', where art historians, literary historians and musicologists explored how art was understood in Antwerp in the sixteenth century, how that art understood itself and conveyed such understanding to others, and how students of early modern Antwerp should understand that concept of art historically. Attention was paid to the factors which influenced the vision of the nature and function of art, including those of a non-artistic nature. Central to the idea of art was the relationship between the classical and the popular and between various synonyms, such as the foreign and the vernacular. Antwerp artists in all fields covered by this volume participated in cultural exchange, attempting to incorporate and assimilate elements from different origins into their work. Likewise, contemporary audienc...
During the last several years Theoretische Geschiedenis has devoted a significant number of pages to the ongoing debate concerning the nature and meaning of seventeenth-century Dutch paintings as well as the methodological strategies employed to interpret them. 1 The most recent of these is Eddy de Jongh's 'De dissonante veelstemmigheid sinds Haak.s Hollandse schilders in de Couden Eeuw' (1992), the published version of a lecture delivered at a symposium honoring Bob Haak. In this essay, De Jongh critically analyzes the diverse and often highly controversial interpretive approaches that have surfaced since the appearance in 1984 of Haak's voluminous survey of Dutch painters of the Golden Age. 2 What all of these approaches share is a tendency to deviate from traditional Panofskian iconology. These 'deviations' (or vergruizing as De Jongh, clearly lamenting the current state of affairs, ominously defines them) range from Svetlana Alpers' revisionist Art of describing; to the associative method, developed by Egbert Haverkamp-Begemann and Alan Chong; to the so-called 'anti-iconological' approach of Peter Hecht; to Eric Jan Sluijter' s advocacy of beeldconventies; and lastly, to approaches inspired by critical theory, conveniently gathered under the rubric 'postmodern'.