Writing Assignment # 4 due December 5th

You may use one of the articles from previous lists which you have not used before or select from among the following additional articles. (Do not use articles which you have used as resources for your research paper -- choose something else)

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1)

         

Title: Allegory, Realism, and Vermeer's Use of the Camera Obscura.       

Authors:      Steadman, Philip1

Source:        Early Science & Medicine; 2005, Vol. 10 Issue 2, p287-313, 27p,2 diagrams 

Subject Terms:      *ART & photography, *CAMERA obscuras, *PAINTING. *PHOTOGRAPHY

People:        VERMEER, Johannes

Abstract:     Critics of the proposal that the Dutch painter Johannes Vermeer used the camera obscura extensively in making his pictures of domestic scenes have argued that this cannot be the case, since his compositions are not 'photographic snapshots' but are very finely judged and balanced; his subject matter draws on the traditional motifs of Dutch genre painting; and the pictures are filled with complex allegorical and symbolic meaning. In this paper it is argued that all these are indeed characteristics of Vermeer's oeuvre, but that the artist produced them through the transcription of optical images of tableaux, set up by arranging real furniture and other 'props' with extreme care, in an actual room in his mother-in-law's house.

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>Allegory, Realism, and Vermeer's Use of the Camera Obscura.</A>        

         

Database:    Academic Search Premier       

2)   The Greek manner and a Christian canon: Francois Duquesnoy's Saint Susanna Estelle Lingo.  The Art Bulletin New York:Mar 2002.  Vol. 84,  Iss. 1,  p. 65-93 (29 pp.)

Subjects:	Art history,  Visual artists,  Sculpture,  Art criticism
Document URL:	http://proquest.umi.com/pqdweb?did=112561947&Fmt=4&clientId=30336&RQT=309&VName=PQD

Abstract (Document Summary)

Passeri's report in his seventeenth-century biography of Francois Duquesnoy that the sculptor and his friend Nicolas Poussin sought to create art in the Greek manner has long intrigued scholars. Lingo calls attention to period testimony that corroborates Passeri's account and records an academy formed by Duquesnoy's circle. The significance of the Greek manner is explored in relation to Duquesnoy's "Saint Susanna" and its seventeenth-century critical reception.

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3)

Title: Helena Fourment's Het Pelsken.

Authors: Thøfner, Margit

Source: Art History; Feb2004, Vol. 27 Issue 1, p1-33, 33p

Subject Terms: *PAINTING, *PROPERTY. *WILL, Geographic Terms: ANTWERP (Belgium)

People: RUBENS, Peter Paul, FOURMENT, Helena

Abstract: The article explores the uneasy relationship between the painting "Het Pelsken" and her owner Peter Paul Rubens. In Antwerp, Belgium, on June 8, 1658, a wealthy middle-aged patrician named Helena Fourment made a new will. Helena's will indicates that she was the undisputed owner of a painting by her husband. Peter Paul Rubens, which

is still under the title of "Het Pelsken." The painting now belongs to the Kunsthistorisches Museum in Vienna; it is in a very good state of conservation and it is normally dated, on stylistic grounds, to the period between 1635 and 1640.

 

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>Helena Fourment's Het Pelsken.</A>

Database: Academic Search Premier

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4)

Title: Encountering Difference: Rembrandt's Presentation in the Dark Manner.

Authors: Zell, Michael

Source: Art History; Nov2000, Vol. 23 Issue 4, p496, 26p, 17bw

Subject Terms: *ART & religion, *CRITICISM, JESUS Christ -- Presentation

People: REMBRANDT Harmenszoon van Rijn

Abstract: Rembrandt's etching of The Presentation of Christ in the Temple of c. 1654 has long been understood to represent a radical break from the protocols of pictorial and scriptural tradition. The significance of this theological inflection, however, has yet to be investigated. This study locates Rembrandt's dramatic reformulation of the biblical event within a distinctive historical and religious context by considering the artist's involvement with Rabbi Menasseh ben Israel,

the foremost Jewish apologist of the seventeenth century. In 1655 Rembrandt illustrated the rabbi's messianic treatise, Piedra Gloriosa, a book which emerged from and was fashioned to appeal directly to a movement within Dutch Protestantism known as 'philosemitism'. Philosemitic texts are shown to correspond theologically with

Rembrandt's transformation of the scene into a confrontation between the universalist message of the Christian Gospel and the authority and ceremonial of Jewish law. [ABSTRACT FROM AUTHOR]

 

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Encountering Difference: Rembrandt's Presentation in the Dark Manner.</A> 

Database: Academic Search Premier

 

5)

Title: Looking at Van Dyck's Scipio in its Contexts.

Authors: Peacock, John

Source: Art History; Jun2000, Vol. 23 Issue 2, p263, 28p, 8bw

Subject Terms: *NARRATIVE art, *PAINTING, Modern -- 17th-18th centuries. *THEATER in art

Geographic Terms: LONDON ENGLAND

Abstract: Focuses on the painting `Continence of Scipio,' by seventeenth century painter Anthony Van Dyck in London, England. Use of animated objects to underscore the dramatic scene; Histrionic qualities and narrative characteristics of the painting; Integration of masque elements in the art work; Representation of the Jacobean court theater in the work.

 

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Looking at Van Dyck's Scipio in its Contexts.</A>

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6)

Title: Dead animals and the beast-machine: Seventeenth-century Netherlandish paintings of dead animals...

Authors: Wolloch, Nathaniel

Source: Art History; Dec99, Vol. 22 Issue 5, p705, 23p, 13bw

Subject Terms: *ANIMALS in art, *PAINTING, Modern -- 17th-18th centuries, Netherlands

Geographic Terms: NETHERLANDS

Abstract: Discusses the sub-genre of dead animal paintings in seventeenth-century Netherlands. Debate on the characteristics of animals; Moral duties towards animals; Paintings as an attack to Cartesian theory of beast-machine and as statements of attitudes towards animals in general; Particular type of recognition to the value of animal life.

 

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Dead animals and the beast-machine: Seventeenth-century Netherlandish

paintings of dead animals...</A>

Database: Academic Search Premier

 

7)

Title: Adjusting to hard times: Dutch art during its period of crisis and restructuring (c. 1621--c. 1645).

Authors: Israel, Jonathan I.

Source: Art History; Sep97, Vol. 20 Issue 3, p449, 28p, 1 chart, 6bw

Subject Terms: *SEVENTEENTH century, *ART, Dutch, *HISTORY

Abstract: Looks at the impact of Dutch economy on art during its period of crisis and restructuring during 1621-1645. Discussion on the economic aspects of the Dutch economy during the mentioned period; How the recession enabled the availability of funds to invest in art; Information on Dutch artist who succeeded during the period and details on their work.

 

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3">Adjusting to hard times: Dutch art during its period of crisis and restructuring (c. 1621--c. 1645).</A>

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8)

Title: The Problem with Looking at Pieter Bruegel's Elck.

Authors: Rothstein, Bret

Source: Art History; Apr2003, Vol. 26 Issue 2, p143-173, 31p

Subject Terms: *ART, Dutch, *PRINTS -- 16th century, People: BRUEGEL, Pieter

Abstract: Discusses Pieter Bruegel's 1558 print titled 'Elck.'  Ways in which the print draws upon metaphorical implications of visual experience; Reflexive appeals to the act of viewing that are a central aspect of northern Renaissance art; Print's denial of access to any higher truth; Ways in which the print calls into question contemporaneous notions of visuality and of the utility of paintings and prints.

 

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The Problem with Looking at Pieter Bruegel's Elck.</A>

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9)

Title: Vermeer’s Pregnant Women. On Human Generation and Pictorial Representation.

Authors: Leonhard, Karin

Source: Art History; Jun2002, Vol. 25 Issue 3, p293, 26p

Subject Terms: *PAINTING, *SEVENTEENTH century, PREGNANT women in art

People: VERMEER, Johannes

Abstract: According to legend, Vermeer's canvas acts like a flawless mirror: The picture is conjured onto it as though it is painted by Nature itself – the canvas reflects undistorted images of the real world. Vermeer seems to be a master in the art of describing ; he paints with striking realism. But is there any truth to this legend? We well know that the female body was also seen as a speculum sine macula in the seventeenth century’s eyes. A two–thousand–year–old belief in human

generation gave the power of procreation to men alone; the female body was a merely passive matter, a medium in which the embryo could grow. – Vermeer has painted pregnant women. But when we talk about Vermeer, we never ask about this belief, although it was in Delft, only a few streets away from Vermeer's home, that it was challenged and disproved

for all time. [ABSTRACT FROM AUTHOR]

 

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Vermeer’s Pregnant Women. On Human Generation and Pictorial

Representation.</A>

Database: Academic Search Premier

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