Landscape and religion from Van Eyck to Rembrandt
Author(s)
Bibliographic Information
Landscape and religion from Van Eyck to Rembrandt
Ashgate, c2012
- Other Title
-
Landschap en wereldbeeld
Landscape and religion : from Van Eyck to Rembrandt
Available at 6 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Translation of: Landschap en wereldbeeld. Bussum : Thoth, c2004
Includes bibliographical references (p. [299]-331) and indexes
Description and Table of Contents
Description
Offering a corrective to the common scholarly characterization of seventeenth-century Dutch landscape painting as modern, realistic and secularized, Boudewijn Bakker here explores the long history and purpose of landscape in Netherlandish painting. In Bakker's view, early Netherlandish as well as seventeenth-century Dutch painting can be understood only in the context of the intellectual climate of the day. Concentrating on landscape painting as the careful depiction of the visible world, Bakker's analysis takes in the thought of figures seldom consulted by traditional art historians, such as the fifteenth-century philosopher Dionysius the Carthusian, the sixteenth-century religious reformer John Calvin, the geographer Abraham Ortelius and the seventeenth-century poet Constantijn Huygens. Probing their conception of nature as 'the first Book of God' and art as its representation, Bakker identifies a world view that has its roots in the traditional Christian perceptions of God and creation. Landscape and Religion from Van Eyck to Rembrandt imposes a new layer of interpretation on the richly varied landscapes of the great masters. In so doing it adds a new dimension to the insights offered by modern art-historical research. Further, Bakker's explorations of early modern art and literature provide essential background for any student of European intellectual history.
Table of Contents
- Contents: Preface
- Introduction
- The early landscape: background or subject?
- The art of painting and the cosmos
- The visible world: from semblance to reality
- The beauty of the world as a path to God
- The landscape of the mind: the world as allegory
- Bosch, Patinir and Bles: worlds of allegory
- The painter as geographer: cartographic and topographical landscapes
- Meanings old and new: Bruegel, Ortelius and Calvin
- A painter writing on landscape painting: Karel van Mander
- The Dutch landscape as an art-historical problem
- Didactic landscapes: Zacharias Heyns and Claes Jansz Visscher
- Two poets and the theory of landscape painting: Huygens and Vondel
- The painter and the landscape: Rembrandt van Rijn
- Bibliography
- Indexes.
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