Paper $71.50 ISBN: 9789089640277 Published February 2009 For sale only in the United States, its dependencies, the Philippines, and Canada

The Visible World

Samuel van Hoogstraten's Art Theory and the Legitimation of Painting in the Dutch Golden Age

Thijs Weststeijn

Thijs Weststeijn

Distributed for Amsterdam University Press

512 pages | 50 color plates, 90 halftones | 7-1/2 x 9-4/5 | © 2008
Paper $71.50 ISBN: 9789089640277 Published February 2009 For sale only in the United States, its dependencies, the Philippines, and Canada

The Visible World explores the writings of Dutch painter and poet Samuel van Hoogstraten (1627–78)—one of Rembrandt’s pupils—and clarifies his use of painterly themes and theory from the Dutch Golden Age. Van Hoogstraten drew on a variety of literary, philosophical, and artistic sources, as well as from history and travel accounts, in writing has magnum opus, Introduction to the Academy of Painting; or the Visible World (1678) a cross-section of general seventeenth-century views on art in Holland. Questioning the motives of artists represented by van Hoogstraten’s theory, as well as the contested issues behind Dutch realism and its hidden symbolism, author Thijs Weststeijn provides an ambitious overview of seventeenth-century painting through the eyes of contemporary Dutch artists from the age.

Contents
Preface and Acknowledgements
Introduction
 
  I.  Samuel van Hoogstraten in the Republic of Letters
         A learned artist: Van Hoogstraten as painter and poet
         A courtiers' handbook, novels and drama
         'Visible' and 'Invisible' Worlds
         Elevating the status of painting
         'The whole of Painting and all that pertains to it'
         Painting and rhetoric: rules of art and rules of conduct
 
 II.  The Visible World
         The 'soul of art;" examining the 'properties' of things
         The painter's rewards: painting and philosophy
         Painting as 'universal knowledge'
         The meaning of the depiction of the visible world
         The outlook of Stoicism
         The Book of Nature and the eloquence of painting
 
III.  Pictorial Imitation
         An ideology of imitation
         Imitation and self-knowledge
         The imitation of examples and the imitation of nature
         Imitating the inimitable
         Painting as virtual reality
         'As if he were another bystander': the response theory of ekphrasis
         'A gratifying indulgence in disparate parities'
         Emulation and the history of art
 
IV.  The Depiction of the Passions
         The soul's three parts
         Body and mind, actions and passions
         Passionate persuasion: beweeglijkheid and enargeia
         Ethos and pathos
         The depiction of the passions and pictorial realism
         The ideal painter of passions: Rembrandt as pathopoios
 
  V.  The Eloquence of Colour
         Paint as flesh
         The cosmetics of colour
         'Rough' versus 'fine' brushwork
         The colours of the Dutch countryside
         A painterly art
         The mute rhetoric of the visible world  
 
 VI.  Painting as a Mirror of Nature
         Paintings as mirrors
         Deceiving the eye
         'Making things appear to be that are not': painting as metaphor
         Illusion and vanity
         'Through a glass, darkly': visible and invisible worlds
         Van Hoogstraten's perspective box: the bifocal gaze as memento mori
         The painter and the visible world: self-portraits by Van Hoogstraten and Rembrandt 
 
       Excursus: Painting as a 'Sister of Philosophy'
         The visible and the invisible
         From qualities to particles: theories about optics
         Van Hoogstraten and Van Blijenberg discuss body and soul
         The philosophical status of the visible world
 
Conclusion
 
Notes
Bibliography
Indices
For more information, or to order this book, please visit http://www.press.uchicago.edu
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