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Art and Antiquity in the Netherlands and Britain: The Vernacular Arcadia of Franciscus Junius (1591-1677) [Kietas viršelis]

How did the classical tradition survive on the North Sea shores? This richly illustrated book explores the interplay between art and erudition in the seventeenth century. It analyses the sources, editions, and reception of Franciscus Juniuss writings to chart how ideas about Northern European painting, from Van Dyck to Rembrandt, developed as a counterweight to the Italian tradition. Thus the language of art in Juniuss The Painting of the Ancients appears to be related to his seminal work in the field of Germanic linguistics and his discovery of the shared pre-Christian civilization of Holland and England. Juniuss innovative pairing of scholarship to the painters practice illuminates the reception of antiquity and the creation of an Anglo-Dutch artistic Arcadia.

Recenzijos

"Weststeijns book is a major contribution to the scholarship on seventeenth-century art theory and practice and is an exemplar for future studies on the subject."

John R. Decker, Georgia State University

Acknowledgments ix
List of Illustrations
x
List of Abbreviations
xxiii
Introduction: Franciscus Junius' Vernacular Arcadia 1(30)
"An Extremely Learned and Famous Man"
9(4)
Painting and Philology in the Netherlands
13(6)
Artistic Terms in Latin and in the Vernacular
19(4)
Junius in the European "Republic of Painting"
23(8)
1 "Transform this Age into a Golden One": Junius and the Arundel Collection
31(72)
Dutch Art in England: The Arundel Circle
41(6)
Antiquarianism in Britain and the Netherlands
47(19)
The Genesis of The Painting of the Ancients
66(7)
Arundel's Paper Museum
73(14)
The Gentleman's Exercise: Civil Conversations about Art
87(16)
2 More than a Paraphrase: The Painting of the Ancients in Latin, English, and Dutch
103(48)
"More than Paraphrastic License"
116(8)
Differences in Terminology
124(4)
Junius, Van Hoogstraten, De Lairesse, and Rembrandt
128(12)
"Polishing" and "Demarcating" the Vernacular
140(11)
3 Dutch and English Antiquity: The Germanic Origins of Art
151(44)
The Germanic Languages as Languages of Art
153(2)
Germanic Iconography
155(20)
Germanic Style
175(6)
Rembrandt's Conspiracy of Claudius Civilis
181(7)
Aftermath: The Saxon Gods at Stowe
188(7)
4 Actualizing the Ancients: Junius, Vossius, Lampsonius
195(50)
The Neo-Latin Tradition of Art Theory
199(4)
The Four Popular Arts
203(3)
The Concept of Graphein
206(2)
Painting and Rhetoric
208(3)
Actualizing the Ancients
211(16)
The "Father of Painting in the Netherlands": Lambert Lombard
227(8)
Classical Scholarship and the Painter's Studio: A Vernacular Symbiosis
235(10)
5 The Painter's Right Hand: Teghenwoordigheydt and the Presence of Painting
245(70)
The Reception of Junius' Ideas among Artists
245(3)
Painting and Ekphrasis
248(10)
Presence, or Teghenwoordigheydt
258(2)
"As if the artist were present"
260(8)
The Beholder's Presence
268(9)
The Artistic Experience: A Mental Activity for Both Artist and Viewer
277(12)
Conclusion: From Mimesis to Imagination
289(1)
Imagination and Lifelikeness
290(10)
"A Hidden Room": Art as a Shelter from Conflict
300(11)
Coda: The Presence of the Past as an Aesthetic Ideal
311(4)
Appendices
Gerardus Vossius, The Art of Painting (1650)
315(12)
Table 1 Contents of Junius' The Painting of the Ancients
327(2)
Table 2 The Reception of Junius' Treatise in the Seventeenth and Eighteenth Centuries
329(29)
Table 3 Major Differences between the English and Dutch Editions
358(11)
Table 4 Terminology in the Dutch Edition
369(12)
Notes 381(41)
Bibliography 422(21)
Index of Names 443(8)
Index of Places 451
Thijs Weststeijn is Associate Professor of Art History at the University of Amsterdam. He has published widely on seventeenth-century art and theory, including The Universal Art of Samuel van Hoogstraten (2013) and The Visible World (2008).