Möchten Sie über diese Zeitschrift informiert bleiben? Klicken Sie bitte auf die Buttons, um unsere Alerts zu abonnieren.
Möchten Sie über diese Zeitschrift informiert bleiben? Klicken Sie bitte auf die Buttons, um unsere Alerts zu abonnieren.
Hunting grounds for painters
The killing of animals and the artistic domination of nature
in Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineSearch for other papers by Maurice Saß in
Current site
Google Scholar
This article focuses on the intersection of the hunt and art as it is reflected in three early modern depictions of artists as successful hunters: Gabriel Metsu’s Hunter getting dressed after bathing, Ary de Vois’s Self-portrait as a hunter, and Rembrandt’s A dead bittern held high by a hunter. These three self-referential paintings show different ways in which the hunt and dead animals were used to characterise artistic practice, and to what extent they were underpinned by the semantics of other forms of ‘the chase’: the pursuit of love, knowledge, and power.
Kauf
Sofortzugang erwerben (PDF-Download und unbegrenzter Online-Zugang):
Institutszugang
Melden Sie sich mit Open Athens, Shibboleth oder Ihren institutionellen Anmeldedaten an.
Persönliche Anmeldung
Melden Sie sich mit Ihrem brill.com-Konto an
| Insgesamt | Letzte 365 Tage | In den letzten 30 Tagen | |
|---|---|---|---|
| Aufrufe von Kurzbeschreibungen | 758 | 96 | 8 |
| Gesamttextansichten | 33 | 2 | 0 |
| PDF-Downloads | 104 | 6 | 0 |
Hunting grounds for painters
The killing of animals and the artistic domination of nature
in Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineSearch for other papers by Maurice Saß in
Current site
Google Scholar
PubMed
This article focuses on the intersection of the hunt and art as it is reflected in three early modern depictions of artists as successful hunters: Gabriel Metsu’s Hunter getting dressed after bathing, Ary de Vois’s Self-portrait as a hunter, and Rembrandt’s A dead bittern held high by a hunter. These three self-referential paintings show different ways in which the hunt and dead animals were used to characterise artistic practice, and to what extent they were underpinned by the semantics of other forms of ‘the chase’: the pursuit of love, knowledge, and power.
| Insgesamt | Letzte 365 Tage | In den letzten 30 Tagen | |
|---|---|---|---|
| Aufrufe von Kurzbeschreibungen | 758 | 96 | 8 |
| Gesamttextansichten | 33 | 2 | 0 |
| PDF-Downloads | 104 | 6 | 0 |
