About this product

Product Identifiers

PublisherUniversity of California Press

ISBN-100520221354

ISBN-139780520221352

eBay Product ID (ePID)1898918

Product Key Features

Number of Pages279 Pages

LanguageEnglish

Publication NameEntrance for the Eyes : Space and Meaning in Seventeenth-Century Dutch Art

Publication Year2002

SubjectEuropean, History / General

TypeTextbook

Subject AreaArt

AuthorMartha Hollander

FormatHardcover

Dimensions

Item Height1 in

Item Weight35.3 Oz

Item Length10 in

Item Width7 in

Additional Product Features

Intended AudienceScholarly & Professional

LCCN00-069089

TitleLeadingAn

Dewey Edition21

IllustratedYes

Dewey Decimal759.9/492/09032

Table Of ContentIllustrations Acknowledgments Introduction I. Karel van Mander: The Language of Space "An Entrance for the Eyes" Images in Conversation Into the Seventeenth Century Ideas of Order II. Gerard Dou: The Reconfigured Emblem Foreground and Background An Art of Surfaces Drape and Curtain The Space of Emblems Uses of the Background Scene Pictures within Pictures An Empty Room III. Nicolaes Maes: Space as Domestic Territory The Eavesdroppers Pictorial Space at Mid-Century Re-creating the Dutch Interior Mistresses and Maids Diligence and Desire IV. Pieter De Hooch: Indoors and Out Figures in a Courtyard Home and Cityscape Masculine and Feminine Spaces Privacy and Community Exchanges at the Doorway Public Interiors Notes Bibliography Index

SynopsisMartha Hollander's lively and gracefully written book considers one of the most intriguing features of seventeenth-century Dutch painting: the pictorial language of space, in particular the use of secondary scenes. Many Dutch pictures, especially genre scenes and portraits, introduce a gap through the trees; a view of distant mountains; views through windows, archways, open doors, and pulled-back curtains; or mirrors and pictures-within-pictures to comment on, explain, and enrich the primary scene that unfolds on the canvas. Hollander uncovers the meanings generated by the formal structure of such pictures, tracing their heritage in the medieval and Renaissance pictorial traditions of illuminated manuscripts, emblems, and stage design. A number of Dutch painters, working for a fiercely competitive art market fostering experiment and novelty, created these secondary scenes in remarkably various and inventive ways.An Entrance for the Eyesfocuses on striking features in the works of several artists who carried out bold experiments with space and meaning. Hollander introduces the ideas of pictorial organization formulated by Karel van Mander in both his paintings and his theoretical treatiseHet Schilder-boeck.She explains how Gerard Dou (1613-1675), in his tightly constructed allegorical pictures, particularly those set in niches, used the secondary space to comment on the figure in the foreground. In a penetrating analysis of the early domestic scenes of Nicolaes Maes (1634-1693), she relates the juxtaposition of rooms in the household to the status and representation of women in seventeenth-century Holland. In the courtyard scenes and interiors of Pieter de Hooch (1629-1684), always open to the outdoors, she examines the articulation of the still fluid relationship between public and private life. Hollander's narrative deals with complex issues in lucid and direct language. In tracing how the inventive juxtaposing of public and private spaces played out social anxieties and ideals, she inspires readers to look more closely and thoughtfully at the paintings., Martha Hollander's lively and gracefully written book considers one of the most intriguing features of seventeenth-century Dutch painting: the pictorial language of space, in particular the use of secondary scenes. Many Dutch pictures, especially genre scenes and portraits, introduce a gap through the trees; a view of distant mountains; views through windows, archways, open doors, and pulled-back curtains; or mirrors and pictures-within-pictures to comment on, explain, and enrich the primary scene that unfolds on the canvas. Hollander uncovers the meanings generated by the formal structure of such pictures, tracing their heritage in the medieval and Renaissance pictorial traditions of illuminated manuscripts, emblems, and stage design. A number of Dutch painters, working for a fiercely competitive art market fostering experiment and novelty, created these secondary scenes in remarkably various and inventive ways. An Entrance for the Eyes focuses on striking features in the works of several artists who carried out bold experiments with space and meaning. Hollander introduces the ideas of pictorial organization formulated by Karel van Mander in both his paintings and his theoretical treatise Het Schilder-boeck. She explains how Gerard Dou (1613-1675), in his tightly constructed allegorical pictures, particularly those set in niches, used the secondary space to comment on the figure in the foreground. In a penetrating analysis of the early domestic scenes of Nicolaes Maes (1634-1693), she relates the juxtaposition of rooms in the household to the status and representation of women in seventeenth-century Holland. In the courtyard scenes and interiors of Pieter de Hooch (1629-1684), always open to the outdoors, she examines the articulation of the still fluid relationship between public and private life. Hollander's narrative deals with complex issues in lucid and direct language. In tracing how the inventive juxtaposing of public and private spaces played out social anxieties and ideals, she inspires readers to look more closely and thoughtfully at the paintings.

LC Classification NumberND646 .H658 2002