1 |
Att förmedla eller förnöja? : En diskursanalytisk studie av debatten kring förekomsten av moraliska budskap i holländsk 1600-talskonst / To instruct or delight? : A discourse analytical study of the debate concerning the existence of moralistic messages in Dutch seventeenth-century artWikrén, Maria January 2012 (has links)
Uppsatsen undersöker den konstvetenskapliga diskussionen angående rimligheten i att läsa in moraliska budskap i holländsk genrekonst från 1600-talet. Detta görs utifrån en diskursanalytisk metod med fokus på textanalys. De texter som behandlas är skrivna av konsthistoriker under 1980- och 1990-talet och belyser tolkningsfrågan ur olika synvinklar. / This thesis investigates the art historical debate about whether or not it is reasonable to assume the presence of moralistic messages in Dutch seventeenth-century genre art. The study is conducted according to a discourse analytical method with emphasis on textual analysis. The texts chosen for analysis were written during the 1980s and 1990s by art historians who advocate different standpoints.
|
2 |
David III Ryckaert : a seventeenth-century Flemish painterHaute, Bernadette van 11 1900 (has links)
This thesis in two volumes is a study of the paintings of David ill Ryckaert (1612-
1661 ). Ryckaert grew up in a family of artists, and painted within a close community
of fellow artists. According to several twentieth-century critics, Ryckaert was no
more than a minor imitator of other Flemish painters. Underlying such relegation of
Ryckaert is an uncritical and distinctly Modernist glorification of originality, or
merely novelty. The chief argument of this thesis is that a careful reconstruction of
the socio-cultural circumstances ofRyckaert's work calls into question the destructive
employment of originality as a criterion of artistic greatness. Much of the vocabulary
of Flemish art of the time was established. Artists thus proved their excellence both
to fellow painters and a public fully conversant with the artistic traditions of subject
and style, if such pictorial conventions were notably refmed or treated with a
remarkable grace. Embracing the criteria of personal style and the beauty of the work,
this environment is clearly averse to the blank veneration of new or original art.
I argue that the term originality is itself dangerous therefore and that to neglect
Ryckaert's work as that of a minor imitator is invalid and unhelpful.
A careful examination of Ryckaert's known oeuvre reveals that his work is
distinguished by a fine modelling, harmonious composition and a warm palette with
colourful highlights. Although he relied on an established iconographic repertory, he
maintained creative variation, thereby ensuring a steady demand. Ryckaert's imitation
of other artists' work requires us to adjust twentieth-century criteria which tend to be
pejorative of those who borrow from fellow artists. In fact Ryckaert could be said to
have refmed his individuality as a painter through the testing creative encounter with
and imitation of other artists. / Art / D.Litt. et Phil. (History of Art)
|
3 |
David III Ryckaert : a seventeenth-century Flemish painterHaute, Bernadette van 11 1900 (has links)
This thesis in two volumes is a study of the paintings of David ill Ryckaert (1612-
1661 ). Ryckaert grew up in a family of artists, and painted within a close community
of fellow artists. According to several twentieth-century critics, Ryckaert was no
more than a minor imitator of other Flemish painters. Underlying such relegation of
Ryckaert is an uncritical and distinctly Modernist glorification of originality, or
merely novelty. The chief argument of this thesis is that a careful reconstruction of
the socio-cultural circumstances ofRyckaert's work calls into question the destructive
employment of originality as a criterion of artistic greatness. Much of the vocabulary
of Flemish art of the time was established. Artists thus proved their excellence both
to fellow painters and a public fully conversant with the artistic traditions of subject
and style, if such pictorial conventions were notably refmed or treated with a
remarkable grace. Embracing the criteria of personal style and the beauty of the work,
this environment is clearly averse to the blank veneration of new or original art.
I argue that the term originality is itself dangerous therefore and that to neglect
Ryckaert's work as that of a minor imitator is invalid and unhelpful.
A careful examination of Ryckaert's known oeuvre reveals that his work is
distinguished by a fine modelling, harmonious composition and a warm palette with
colourful highlights. Although he relied on an established iconographic repertory, he
maintained creative variation, thereby ensuring a steady demand. Ryckaert's imitation
of other artists' work requires us to adjust twentieth-century criteria which tend to be
pejorative of those who borrow from fellow artists. In fact Ryckaert could be said to
have refmed his individuality as a painter through the testing creative encounter with
and imitation of other artists. / Art / D.Litt. et Phil. (History of Art)
|
Page generated in 0.0944 seconds