Mettre des mots sur lâart
Peintres et connaisseurs dans la théorie de lâart française et néerlandaise du XVIIe siècle
In: Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineSearch for other papers by Jan Blanc in
Current site
Google Scholar
This article investigates a neglected aspect of the debates between seventeenth-century painters and connoisseurs: the discourse. Many of these disputes, in the Netherlands and France, where similar questions and arguments were raised, focused, on the one hand, on the legitimacy of amateurs (i.e. mostly non-practitioners) to speak and write about art, and, on the other hand, on the possibility for professional painters to refuse or accept these evaluations. It was not until the end of the seventeenth century and the acknowledged distinction between âtrueâ and âfalse connoisseursâ that the two sides were truly reconciled, promoting a genuine social and intellectual collaboration aimed at the common edification of art. Prior to this, there were heated debates between artists, who were accused of being incapable of developing an organized reflection on their art, and connoisseurs, whom practitioners considered more eloquent than competent when dealing with an artistic practice that they knew only second-hand.
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| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 466 | 53 | 3 |
| Full Text Views | 24 | 2 | 1 |
| PDF Views & Downloads | 56 | 4 | 2 |
Mettre des mots sur lâart
Peintres et connaisseurs dans la théorie de lâart française et néerlandaise du XVIIe siècle
In: Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineSearch for other papers by Jan Blanc in
Current site
Google Scholar
PubMed
This article investigates a neglected aspect of the debates between seventeenth-century painters and connoisseurs: the discourse. Many of these disputes, in the Netherlands and France, where similar questions and arguments were raised, focused, on the one hand, on the legitimacy of amateurs (i.e. mostly non-practitioners) to speak and write about art, and, on the other hand, on the possibility for professional painters to refuse or accept these evaluations. It was not until the end of the seventeenth century and the acknowledged distinction between âtrueâ and âfalse connoisseursâ that the two sides were truly reconciled, promoting a genuine social and intellectual collaboration aimed at the common edification of art. Prior to this, there were heated debates between artists, who were accused of being incapable of developing an organized reflection on their art, and connoisseurs, whom practitioners considered more eloquent than competent when dealing with an artistic practice that they knew only second-hand.
| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 466 | 53 | 3 |
| Full Text Views | 24 | 2 | 1 |
| PDF Views & Downloads | 56 | 4 | 2 |
