Overview

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 Junius’s 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 Junius’s 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. Junius’s innovative pairing of scholarship to the painter’s practice illuminates the reception of antiquity and the creation of an Anglo-Dutch artistic Arcadia.

Full Product Details

Author:   Thijs Weststeijn
Publisher:   Brill
Imprint:   Brill
Volume:   12
Dimensions:   Width: 17.00cm , Height: 3.30cm , Length: 24.50cm
Weight:   1.365kg
ISBN:  

9789004283619

ISBN 10:   9004283617
Pages:   452
Publication Date:   13 February 2015
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   Available To Order  
We have confirmation that this item is in stock with the supplier. It will be ordered in for you and dispatched immediately.

Table of Contents

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

Reviews

Weststeijn's 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

Weststeijn's 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

Author Information

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).

Tab Content 6

Author Website:  

Customer Reviews

Recent Reviews

No review item found!

Add your own review!

Countries Available

All regions