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Class distinctions : dutch painting in the age of Rembrandt and Vermeer, by Ronni Baer
Téléchargement Gratuit Class distinctions : dutch painting in the age of Rembrandt and Vermeer, by Ronni Baer
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Détails sur le produit
Relié: 344 pages
Editeur : Museum of Fine Arts,Boston; Édition : 01 (14 octobre 2015)
Langue : Anglais
ISBN-10: 0878468307
ISBN-13: 978-0878468300
Dimensions du produit:
23,5 x 3,2 x 27,9 cm
Moyenne des commentaires client :
3.0 étoiles sur 5
1 commentaire client
Classement des meilleures ventes d'Amazon:
431.811 en Livres (Voir les 100 premiers en Livres)
Autant par ses reproductions que par son contenu ce document qui se voudrait une synthèse du Siècle d'Or m’apparaît en première lecture très MOYEN. En effet il propose à l'amateur une vue globale et synthétique des différents courants picturaux qui ont animé cette très riche période de l'Histoire de l'Art hollandais. La tentative est méritoire mais ne reste qu'une présentation générale aidée de quelques reproductions de qualité assez moyenne!
This is the catalogue accompanying the exhibit of the same name organized by Boston’s Museum of Fine Arts and mounted at the Museum from October 2015 to January 2016 and then at the Nelson-Atkins Museum of Art in Kansas City, Missouri, from February to May. The exhibition was curated and the catalogue is edited by Ronni Baer, Senior Curator of European Paintings at the MFA, a specialist in Golden Age Dutch and Flemish painting, who has previously written extensively on such figures as Gerrit Dou, Jacob van Ruisdael, Frans Hals, Rubens, Rembrandt, and other old masters. There are hundreds of monographs and exhibition catalogues on Netherlandish painting in the seventeenth century, but what distinguishes this volume is its examination of the art through the prism of the class structure of the society. One can easily understand how the liberation of an artistic culture from ecclesiastical and aristocratic patronage, and the liberation of an entire society from domination of church and court, opened up huge opportunities for painting—in subject, in style, in intention, and even in the kinds of people creating it and buying it. The enormous economic expansion of the Low Countries in the sixteenth and seventeenth centuries led, for the first time, to a kind of free market in art that partook fully in the mercantile explosion: it is estimated that around five million paintings were produced in the region in that latter century, i.e., almost a thousand a week—truly, to quote the very appropriate title of Simon Schama’s celebrated book on the period, an “embarrassment of riches.†So much of this art is still extant that one really needs some organizing principle to deal with it, and the perspective of “class distinctions†works very well, because each of the various classes in this quite hierarchical society seems to have had a kind of painting especially appropriate to it. Dr. Baer divided the paintings into eight categories, corresponding more or less to the distinct classes: “Stadholders and the Court,†“Nobles and Aspiring Nobles,†“Regents and Wealthy Merchants,†“Professions and Trades,†“Women at Work,†“Labor,†“The Indigent,†and “Where the Classes Meet.†Each of the sections consists of an introduction of several pages in which Dr. Baer discusses the general characteristics of the group’s history and sociology and points out how each of the paintings (the reproductions follow immediately after the text) exemplifies aspects of its particular class. Thus in the first section we learn the circumstances of the establishment of the “stadholder†(i.e., the “place-holder†or “lieu-tenant,†essentially the head of government) and his immediate entourage and their almost exclusive preference for ancestral portraits and pictures of their castles and manor houses, and the second section reveals the predilection of the nobility for their portraits and depictions of leisure activities. The regents and wealthy merchants tended to favor portraits of groups and couples and depictions of luxurious interiors, and by the time we get to the professions and trades, we encounter paintings of independent people at work: bakers, tailors, notaries, goldsmiths, the physician, etc. And so on down the scale through women’s work (chiefly domestic, but also in the shops and market stalls) and manual labor (linen-bleaching, brewing, fishing, plowing, etc.) to the indigent (bread distribution, alms houses, etc.) The last category, “Where the Classes Meet,†deals with liminal places, like the doorway that separates private from public space (such as in the cover image), and common communal places like the market square and church.What is remarkable is that so many of these paintings contain paintings within them, such as when the interior of a shop features some scenes on its walls: the essays point out that virtually all classes had and displayed paintings, just as all classes had linen underclothing, and it was just a matter of quality: the upper classes had fine linen and expensive paintings by Jan Steen and Jan Vermeer; the lower classes had coarse linen and smaller paintings by obscure artists. (Linen is altogether very important in this art, because Holland was a center of the linen industry—because of the huge export cheese manufactory, which produced great quantities of whey, an essential ingredient in the linen-bleaching process in use at the time: there is much interesting anecdotal information of that sort.) All these circumstances are admirably explained by Dr. Baer, whose knowledge of the history and society of the time is comprehensive. Her catalogue texts are preceded in the volume by five pertinent, informative, and fully annotated essays by Dutch scholars (excellently translated), which discuss Golden Age history and society in broader terms such as the “anatomy†of the social structure, the smells evoked by some of the paintings (we would not know it from a visit today, but in the seventeenth century a city like Amsterdam reeked to the heavens, the canals being little more than stagnant open sewers), the clothing we see in the paintings, the table settings and their linens, and the ownership of the paintings themselves.It almost goes without saying that the catalogue is profusely illustrated. There are seventy-five exhibition items, by about fifty different painters, each of which is reproduced full-page. The curators have gone all out to bring in some of the most iconic images of this art ranging from familiar pieces of Vermeer, Jan Steen, Rembrandt, Gerrit Dou, Frans Hals, et. al., to much less frequently encountered artists (there are over forty named lenders). When I visited, I had a gallery copy of the catalogue in hand and can say that, for the most part, the reproductions are generally true in color to the originals. (One notable exception was the much brighter reproduction of Pieter de Hooch's "Interior with Women beside a Linen Cupboard" [1663; Cat. 43], which, ironically, enhanced the legibility of some detail, such as the auricular frame above the door lintel.) In addition to the exhibition items, there are sixty supporting illustrations including some detail studies, mostly full- or half-page and all in excellent color, as well as thirty pages of full-bled enlargements. The apparatus is also quite generous: in addition to about ten pages of artists’ biographies, there is a complete bibliography of references, an exhibition checklist with full curatorial data, a checklist of figure illustrations with curatorial data, and a detailed and comprehensive index. This is a wonderful collection of paintings, each of which has some very special relevance to the topic and which as a whole comprises a fascinating cross-section of the art of the time. One regret is that the catalogue does not reproduce any of the fifty or so objects (wine jugs, goblets, napkins, plates, mustard pots, candlesticks, etc., mostly from the extensive collection of the Museum Boijmans Van Beuningen in Rotterdam and from other museums and private collections) that were exhibited along with the paintings, but that is, I suppose, a minor quibble in the face of such an outstanding accomplishment. An invaluable addition to any collection of Golden Age literature and highly recommended.
I wish I could go to Boston to see this exhibition in person, which includes a wide variety of excellent Dutch Golden Age paintings and items brought in from collections around the world, but I am very happy with the catalogue that has been made available.Something that stands out for me is the effort the publishers made to include many full page detailed views of the paintings. The reproductions of the main catalogue images are generally good and of reasonably large size, but having these full page detail views, on such a large page and in high quality, allows you to have an experience a little more like seeing the pictures in person.Another positive is that there are a good number of additional images to illustrate the associated text, and nearly all of them are reproduced in color.Thanks to the Boston Museum of Fine Arts for a very pleasant exhitibion catalogue... well worth the money in my view.
The reproductions in this book are outstanding; certainly the best I have seen in any art book. They brought tears of joy to my eyes. I had already given up all hope that such books are still produced. These days, art lovers are customarily abused with "printed in China" reproductions that are uniformly too dark and have washed out colors. You already have to avoid certain artists such as Rembrandt or Caravaggio completely because you know in advance that "reproductions" of their masterworks will consist of a speck of brown on an otherwise black plate. Then, to add insult to injury, amazon reviewer drones will rave about "marvelous reproductions" to lure you into purchasing anyway.Though I can't prove conclusively that I'm not one of these, my advice is to get this "printed in Italy" gem before it goes out of print. It will be the highlight of your art book collection. And thank you MFA publications; more of this, please!
Very good read! Great images accompanied by detailed narrative of daily lives in the Dutch Golden Age.
This an awesome book, seriously thick and heavy and full of images with in depth historical commentary. A great coffee table piece and a serious study book alike.
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