CiNii Books - The learned eye : regarding art, theory, and the artist's reputation : essays for Ernst van de Wetering

The 'learned eye' or oculus eruditus was a concept used by seventeenth-century writers on painting. It illustrated their view that the ideal artist was not only skilled in painting techniques, but also had knowledge of the history of art and an interest in poetry and literature. In this book, dedicated to Rembrandt scholar Ernst van de Wetering, the 'learned eye' refers to the experienced eye of the art historian, the curator, or the restorer. More specifically, the concept explains an issue central to understanding seventeenth-century art and its context: the artist's concern with the intellectual and social status of his profession. The book contains contributions on Rembrandt, Van Dyck, Frans Hals, Poussin and others, all linked by the theme of the 'learned eye', focusing on studio practice, theory of art, or the development of the artist's self-image. These themes reflect the scope of research and teaching of Ernst van de Wetering who first trained as an artist before becoming an art historian. Since 1987 he has been professor of art history at the University of Amsterdam, and, for more than ten years, the inspiring leader of the Rembrandt Research Project. The importance of starting with the art object itself is a familiar concept to anyone who has attended the lectures of Ernst van de Wetering, whose own familiarity with the painter's craft, with Rembrandt's studio practice, and the history of art has 'opened the eyes' of many. This book brings together essays by some of Van de Wetering's students, colleagues and friends, who were influenced in different ways by his approach to the art of painting. The contributors touch on four main issues. The first concerns material aspects of the work of art. Second, these findings are confronted with the rules of art that were recorded by contemporaries. Third, the 'learned eye' figures as part of the artists' desire to enhance the status of their profession. The fourth issue situates painting in its context of patrons and art lovers, who wanted to learn the basic principles of painting and obtain 'eruditos oculos' themselves.

Table of Contents

Table of Contents - 6[-]Introduction - 10[-] The Learned Eye - 10[-] Biography of Ernst van de Wetering - 14[-]Part I: The Work of Art - 18[-] In the Beginning There Was Red - 19[-] The Use of Wood in Rembrandt's Workshop. Wood Identification and Dendrochronological Analyses - 29[-] Rembrandt's Drawing The Raising of the Cross in the Museum of Fine Arts, Boston - 40[-] The Portrait of Theodorus Schrevelius - 48[-]Part II: The Rules of Art - 58[-] The Contours in the Paintings of the Oranjezaal, Huis ten Bosch - 60[-] Aelbert Cuyp's Innovative Use of Spatial Devices - 88[-] Colour Symbolism in Seventeenth-Century Dutch Painting - 100[-] Rembrandt and Rhetoric. The Concepts of affectus, enargeia and ornatus in Samuel van Hoogstraten's Judgement of His Master - 112[-]Part III: The Artist's Reputation - 132[-] 'A Record and Memorial of his Talents for Posterity': Anthony van Dyck's Sketch of the Garter Procession - 134[-] 'Das Werk erdacht und cirkulirt'. The Position of Architects at the Court of King Ferdinand I of Bohemia and His Son, Archduke Ferdinand II of Austria - 141[-] Crossing the Wall of History. Etienne Del cluze on the Art and Morality of Jacques-Louis David - 152[-] Goltzius, Painting and Flesh
or, Why Goltzius Began to Paint in 1600 - 159[-]Part IV: Painters, Patrons and Art-Lovers - 180[-] 'Pour mon honneur et pour vostre contentement': Nicolas Poussin, Paul Fr art de Chantelou and the Making and Collecting of Copies - 182[-] Gerard de Lairesse and Jacob de Wit in situ - 191[-] 'The Painter he findes at his Easill at worke' - 207[-]Bibliography of Ernst van de Wetering - 215[-]About the Authors - 223[-]Index of Names - 226

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The learned eye : regarding art, theory, and the artist's reputation : essays for Ernst van de Wetering

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