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Keywords = Dutch Golden Age

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10 pages, 232 KiB  
Article
Spinoza and Enlightened Pleasures
by Charlie Huenemann
Histories 2023, 3(4), 371-380; https://doi.org/10.3390/histories3040025 - 5 Dec 2023
Viewed by 1809
Abstract
Spinoza recognizes that worldly pleasures are not contrary to the life of the philosophical sage, but such pursuits must be carefully directed. He distinguishes between a joy that affects only some parts of the body (titillatio) and joy that extends through [...] Read more.
Spinoza recognizes that worldly pleasures are not contrary to the life of the philosophical sage, but such pursuits must be carefully directed. He distinguishes between a joy that affects only some parts of the body (titillatio) and joy that extends through the body as a whole (hilaritas or “cheerfulness”). Titillation can be excessive, since it can blind us to our other needs. But cheerfulness cannot be excessive, since the whole body is improved at once. In his account of cheerfulness, Spinoza can be understood to be describing the life of a liefhebber, which is the Dutch term for a connoisseur, or an enlightened and discriminating consumer of worldly pleasures. It is a strikingly appropriate discussion given his own historical context, in which the Dutch culture found itself suddenly in possession of delights from around the world. This paper will explore Spinoza’s account of pleasure and cheerfulness in its context, with reference to other authors who were wrestling with the problem of finding the appropriate place for worldly pleasures in a culture of broadly Calvinist sympathies. Full article
(This article belongs to the Section History of Knowledge)
23 pages, 6132 KiB  
Article
The Influence of Dutch Genre Painting in Emblematic Prints: Jan Luyken’s Des Menschen, Begin, Midden en Einde (1712)
by Sooyun Sohn
Humanities 2023, 12(2), 26; https://doi.org/10.3390/h12020026 - 10 Mar 2023
Cited by 1 | Viewed by 2892
Abstract
This paper examines Dutch printmaker Jan Luyken’s visual strategy represented in his emblem book, Des Menschen Begin, Midden en Einde (1712). As a poet as well as a printmaker, Luyken wrote a poem in this book and produced image prints by himself. Jan [...] Read more.
This paper examines Dutch printmaker Jan Luyken’s visual strategy represented in his emblem book, Des Menschen Begin, Midden en Einde (1712). As a poet as well as a printmaker, Luyken wrote a poem in this book and produced image prints by himself. Jan Luyken has long been omitted from surveys of Dutch art due to the absence of archival evidence about his life and works. The themes that Luyken employed in his prints, such as parents’ virtue, mother and child, and children’s play, and his genre style, including doorsien, are all examples of contemporary pictorial devices of genre painting prevalent in Luyken’s time. An analysis of the similarities between Des Menschen Begin, Midden en Einde and contemporary genre paintings demonstrates that Luyken’s prints coincided with the development of Dutch Golden Age art. Luyken consciously employed a strategy of incorporating trendy interior items and idealized figures to make his pieces more attractive to his contemporaneous buyers. This is contrary to evaluations of him as an outdated artist indifferent to the contemporary art world. Full article
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11 pages, 923 KiB  
Article
The Painting Industries of Antwerp and Amsterdam, 1500−1700: A Data Perspective
by Harm Nijboer, Judith Brouwer and Marten Jan Bok
Arts 2019, 8(3), 77; https://doi.org/10.3390/arts8030077 - 26 Jun 2019
Cited by 5 | Viewed by 6262
Abstract
This study presents a data driven comparative analysis of the painting industries in sixteenth and seventeenth century Antwerp and Amsterdam. The popular view of the development of these two artistic centers still holds that Antwerp flourished in the sixteenth century and was succeeded [...] Read more.
This study presents a data driven comparative analysis of the painting industries in sixteenth and seventeenth century Antwerp and Amsterdam. The popular view of the development of these two artistic centers still holds that Antwerp flourished in the sixteenth century and was succeeded by Amsterdam after the former’s recapturing by the Spanish in 1585. However, a demographic analysis of the number of painters active in Antwerp and Amsterdam shows that Antwerp recovered relatively quickly after 1585 and that it remained the leading artistic center in the Low Countries, only to be surpassed by Amsterdam in the 1650’s. An analysis of migration patterns and social networks shows that painters in Antwerp formed a more cohesive group than painters in Amsterdam. As a result, the two cities responded quite differently to internal and external market shocks. Data for this study are taken from ECARTICO, a database and a linked data web resource containing structured biographical data on over 9100 painters working in the Low Countries until circa 1725. Full article
(This article belongs to the Special Issue Art Markets and Digital Histories)
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21 pages, 2212 KiB  
Article
Innovative Exuberance: Fluctuations in the Painting Production in the 17th-Century Netherlands
by Weixuan Li
Arts 2019, 8(2), 72; https://doi.org/10.3390/arts8020072 - 18 Jun 2019
Cited by 6 | Viewed by 9038
Abstract
The surprising and rapid flowering of Dutch art and the Dutch art market from the late 16th century to the mid-17th century have propelled scholars to quantify the volume of production and to determine the source of its growth. However, existing studies have [...] Read more.
The surprising and rapid flowering of Dutch art and the Dutch art market from the late 16th century to the mid-17th century have propelled scholars to quantify the volume of production and to determine the source of its growth. However, existing studies have not explored the use of known paintings to specify and visualize the fluctuations of painting production in the Dutch Republic. Employing data mining techniques to leverage the most comprehensive datasets of Netherlandish paintings (RKD), this paper visualizes and analyzes the trend of painting production in the Northern Netherlands throughout the 17th-century. The visualizations verify the existing observations on the market saturation and industry stagnation in 1630–1640. In spite of this market condition, the growth of painting production was sustained until the 1660s. This study argues that the irrational risk-taking behavior of painters and the over-enthusiasm for painting in the public created a “social bubble” and the subsequent contraction of the production was a market correction back to a stable state. However, these risk-taking attitudes during the bubble time spurred exuberant artistic innovations that highlight the Dutch contribution to the development of art. Full article
(This article belongs to the Special Issue Art Markets and Digital Histories)
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