Dutch PaintingDutch art spans the history of Western easel painting from the Middle Ages to the present, and has a psychological development of its own which makes it a fascinating field of study. |
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Does this mean that Dutch culture rejected the classic theory of art that proclaimed history painting the highest form of visual art , or even the only relevant category ? This conclusion would not be correct .
Does this mean that Dutch culture rejected the classic theory of art that proclaimed history painting the highest form of visual art , or even the only relevant category ? This conclusion would not be correct .
˹éÒ 43
But the culture to which Reynolds belonged was very different from the one in which Steen worked . In fact the Dutch Republic , especially in the first half of the seventeenth century , was a society with a sociological structure all ...
But the culture to which Reynolds belonged was very different from the one in which Steen worked . In fact the Dutch Republic , especially in the first half of the seventeenth century , was a society with a sociological structure all ...
˹éÒ 101
But the culture had changed , and with it notions about painting ; and what had changed above all was the artist's conception of the real . During the eighteenth century the formal systems that had governed seventeenth - century thought ...
But the culture had changed , and with it notions about painting ; and what had changed above all was the artist's conception of the real . During the eighteenth century the formal systems that had governed seventeenth - century thought ...
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actual aesthetic Amsterdam architectural artist background basic beautiful became become called Christ church classical clear clearly close colour compared composition conception concern contemporary continued Cornelis Cornelis Cornelisz course culture detail direct Dutch early elements especially example expression fact feelings figures followed formal function genre gesture gives Haarlem Hals hand history painting human imagination important individual influence instance interest introduced invention Italian Italy landscape later less light logical look Mannerism master meaning Mondrian moral motive move movement narrative nature objects organization painter pictorial picture portrait portraiture precise present problem reading realism reality reason reference reflects relation Rembrandt scene seems sense seventeenth century shows signs similar space still-life story strong structure style suggests symbolic tradition tree typical usually visual
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| ª×èÍ˹ѧÊ×Í | Dutch Painting World of art |
| ¼Ùéáµè§ | Rudi Fuchs |
| ©ºÑº | ©ºÑº·ÕèÁÕÀÒ¾»ÃСͺ |
| ¼Ùé¨Ñ´¾ÔÁ¾ì | Oxford University Press, 1978 |
| µé¹©ºÑºÁÒ¨Ò¡ | University of Michigan |
| á»Å§à»ç¹¢éÍÁÙÅ´Ô¨Ô·ÑÅ | 1 ¸.¤. 2009 |
| ISBN | 0195200608, 9780195200607 |
| ¤ÇÒÁÂÒÇ | 216 ˹éÒ |
| Êè§ÍÍ¡¡ÒÃÍéÒ§ÍÔ§ | BiBTeX EndNote RefMan |