Relative values
Locating the animal in three paintings by Cornelis van Haarlem
äºNetherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineSearch for other papers by Albert Godetzky in
Current site
Google Scholar
Created in the 1580s and owned by the Amsterdam merchant Jacob Rauwaert, the three paintings by Cornelis van Haarlem considered in this article add an important dimension to the artistâs focus on the human figure by underscoring how the animal played an equally important part in Cornelisâs practice. Seen together, the paintings exhibit the attention to both human and animal bodies that Karel Van Mander encouraged artists to pursue. Yet, the hierarchy of human over animal indicated by Van Manderâs writings is, I argue, subverted by the particularly violent iconographies of Cornelisâs paintings. Suggesting human fallibility and a potential breakdown in the natural order, the paintings can be seen as reflecting the social conditions permeating life in the Netherlands during the Dutch Revolt. This article concludes by speculating how a dialectic of violence, one that encouraged beholders to recognise a relativity of viewpoints, may have served the paintingsâ first owner.
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| å ¨é¨æé´ | è¿å»ä¸å¹´ | è¿å»30天 | |
|---|---|---|---|
| æè¦æµè§æ¬¡æ° | 337 | 45 | 18 |
| å ¨ææµè§æ¬¡æ° | 31 | 0 | 0 |
| PDFä¸è½½æ¬¡æ° | 86 | 3 | 0 |
Relative values
Locating the animal in three paintings by Cornelis van Haarlem
äºNetherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineSearch for other papers by Albert Godetzky in
Current site
Google Scholar
PubMed
Created in the 1580s and owned by the Amsterdam merchant Jacob Rauwaert, the three paintings by Cornelis van Haarlem considered in this article add an important dimension to the artistâs focus on the human figure by underscoring how the animal played an equally important part in Cornelisâs practice. Seen together, the paintings exhibit the attention to both human and animal bodies that Karel Van Mander encouraged artists to pursue. Yet, the hierarchy of human over animal indicated by Van Manderâs writings is, I argue, subverted by the particularly violent iconographies of Cornelisâs paintings. Suggesting human fallibility and a potential breakdown in the natural order, the paintings can be seen as reflecting the social conditions permeating life in the Netherlands during the Dutch Revolt. This article concludes by speculating how a dialectic of violence, one that encouraged beholders to recognise a relativity of viewpoints, may have served the paintingsâ first owner.
| å ¨é¨æé´ | è¿å»ä¸å¹´ | è¿å»30天 | |
|---|---|---|---|
| æè¦æµè§æ¬¡æ° | 337 | 45 | 18 |
| å ¨ææµè§æ¬¡æ° | 31 | 0 | 0 |
| PDFä¸è½½æ¬¡æ° | 86 | 3 | 0 |
