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图书馆 | 资料类型 | 排架号 | 子计数 | 书架位置 | 状态 | 图书预约 |
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正在检索... Science | Book | ND1319.3 .A33 2014 | 1 | Stacks | 正在检索... 未知 | 正在检索... 不可借阅 |
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摘要
摘要
During the seventeenth century, Dutch portraits were actively commissioned by corporate groups and by individuals from a range of economic and social classes. They became among the most important genres of painting. Not merely mimetic representations of their subjects, many of these works create a new dialogic relationship with the viewer. Ann Jensen Adams examines four portrait genres - individuals, the family, history portraits, and civic guards. She analyzes these works in relation to inherited visual traditions, contemporary art theory, changing cultural beliefs about the body, about sight, and the image itself, as well as to current events. Adams argues that as individuals became unmoored from traditional sources of identity, such as familial lineage, birthplace, and social class, portraits helped them to find security in a self-aware subjectivity and the new social structures that made possible the 'economic miracle' that has come to be known as the Dutch Golden Age.
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This excellent study discusses the portrait in 17th-century Dutch art. Portraits were the most numerous category of paintings at this time, and they had many functions, styles, contexts, and, of course, sitters who commissioned them. This well-written book discusses in depth the social, economic, political, and religious context of these works, the formal composition of the paintings (even the poses of the sitters), and what these works were intended to convey to the viewer about the sitter. Adams (Univ. of California, Santa Barbara), a prolific and respected academic scholar in the field, often focuses on specific subjects, such as the Continence of Scipio, and brings out the fascinating relevance of the various aspects of the story. Her discussion of the tradition of the civic guard painting (including Rembrandt's Night Watch of 1642) is masterful in the way it weaves together contemporary politics and religious controversies and how they are embodied, or referred to, in these large canvases. Adams also brings in contemporary theories of self and identity, e.g., from Erving Goffman, Erik Erikson, and others. The footnotes and bibliography are exemplary, and the book includes 73 serviceable black-and-white reproductions. Summing Up: Highly recommended. Upper-level undergraduates and above. F. W. Robinson Cornell University
目录
1 The cultural power of portraits: the market, interpersonal experience, and subjectivity |
2 Portraits of individuals: Physiognomy, demeanor, and the representation of character |
3 Family portraits: the private arena and the social order |
4 The history portrait: comprehending self through historical narrative |
5 Civic guard portraits: personal friendships and the public sphere |
6 Portraits and the production of identity: transitional objects and potential spaces |