Relevant bibliographies by topics / Landscape painting, Dutch

Academic literature on the topic 'Landscape painting, Dutch'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Landscape painting, Dutch"

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Sun, Jia. "A comparative study on the form and style of landscape painting in the Northern Song Dynasty and Dutch Landscape Painting in the 17th Century." Highlights in Art and Design 1, no. 2 (October 25, 2022): 55–57. http://dx.doi.org/10.54097/hiaad.v1i2.2074.

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In the history of Chinese and European painting, landscape painting in the Northern Song Dynasty and Dutch landscape painting in the 17th century have achieved important artistic achievements. Generally speaking, the meaning of comparison is to compare the commonality, difference and mutual influence of paintings produced in different contexts. The purpose of studying and comparing the differences between the two is to take the painting forms of different countries and nations as reference, so as to have a thorough understanding of the forms and styles of the two arts in different times, different regions and different cultural backgrounds.
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Trevisan, Sara. "The Impact of the Netherlandish Landscape Tradition on Poetry and Painting in Early Modern England*." Renaissance Quarterly 66, no. 3 (2013): 866–903. http://dx.doi.org/10.1086/673585.

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AbstractThe relationship between poetry and painting has been one of the most debated issues in the history of criticism. The present article explores this problematic relationship in the context of sixteenth- and seventeenth-century England, taking into account theories of rhetoric, visual perception, and art. It analyzes a rare case in which a specific school of painting directly inspired poetry: in particular, the ways in which the Netherlandish landscape tradition influenced natural descriptions in the poem Poly-Olbion (1612, 1622) by Michael Drayton (1563–1631). Drayton — under the influence of the artistic principles of landscape depiction as explained in Henry Peacham’s art manuals, as well as of direct observation of Dutch and Flemish landscape prints and paintings — successfully managed to render pictorial landscapes into poetry. Through practical examples, this essay will thoroughly demonstrate that rhetoric is capable of emulating pictorial styles in a way that presupposes specialized art-historical knowledge, and that pictorialism can be the complex product as much of poetry and rhetoric as of painting and art-theoretical vocabulary.
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Brauer, Theresa. "Zwadderen in oil paint." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 73, no. 1 (November 7, 2023): 118–37. http://dx.doi.org/10.1163/22145966-07301006.

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Landscape painting can directly address concepts of the world’s origin and its organization. Dutch dune landscapes, however, were and continue to be extremely unstable environments, consisting of damp hollows and wind-borne sand, and resisting any attempt to be shaped or organized. Theresa Brauer’s essay asks its readers to closely examine two of Jan van Goyen’s landscapes that exhibit exceptional fluidity both in painting technique – Van Goyen utilizes a wet-on-wet application of oil pigments – and in the subject they depict: the transitional coastal landscape of Holland. The works are discussed in dialogue with Samuel van Hoogstraten’s description of a painting technique he calls zwadderen, and with Joost van den Vondel’s poetic yet dismissive reflection on incidental forms in landscape painting. The essay contextualizes Jan van Goyen’s landscapes within the framework of nature-theoretical discourse prevalent in the seventeenth century, which contemplates a particular world in a state of motion.
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Brown, Christopher, and Peter C. Sutton. "Masters of 17th-Century Dutch Landscape Painting." Simiolus: Netherlands Quarterly for the History of Art 18, no. 1/2 (1988): 76. http://dx.doi.org/10.2307/3780656.

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Hochstrasser, Julie Berger. "Inroads to Seventeenth-Century Dutch Landscape Painting." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek 48, no. 1 (1997): 192–221. http://dx.doi.org/10.1163/22145966-90000158.

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Davidson, Jane P., and Peter C. Sutton. "Masters of Seventeenth-Century Dutch Landscape Painting." Sixteenth Century Journal 20, no. 4 (1989): 680. http://dx.doi.org/10.2307/2541314.

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Adams, Ann Jensen, and Peter C. Sutton. "Masters of Dutch 17th-Century Landscape Painting." Art Bulletin 74, no. 2 (June 1992): 334. http://dx.doi.org/10.2307/3045877.

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Grimsted, Patricia Kennedy. "A Goudstikker van Goyen in Gdańsk: A Case Study of Nazi-Looted Art in Poland." International Journal of Cultural Property 27, no. 1 (February 2020): 53–96. http://dx.doi.org/10.1017/s0940739120000016.

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Abstract:This article traces the provenance and migration of a painting by Jan van Goyen (1595–1656), River Landscape with a Swineherd, from the Jacques Goudstikker Collection and now in Gdańsk Muzeum Narodowe. After the “red-flag sale” of the Goudstikker Collection in July 1940 to German banker Alois Miedl, and then to Hermann Göring, this painting—after its sale on Berlin’s Lange Auction in December 1940 to Hitler’s agent Almas-Dietrich—was returned to Miedl-Goudstikker in Amsterdam. Miedl then sold it (with two other Dutch paintings) to the Nazi Gauleiter of Danzig, Albert Forster, among many wartime Dutch acquisitions for the Municipal Museum (Stadtmuseum). Evacuated to Thuringia and captured by a Soviet trophy brigade, it thus avoided postwar Dutch claims. Returned to Poland from the Hermitage in 1956, it was exhibited in the Netherlands and the United States (despite its Goudstikker label). Tracing its wartime and postwar odyssey highlights the transparent provenance research needed for Nazi-era acquisitions, especially in former National Socialist (NS) Germanized museums in countries such as Poland, where viable claims procedures for Holocaust victims and heirs are still lacking. This example of many “missing” Dutch paintings sold to NS-era German museums in cities that became part of postwar Poland, raises several important issues deserving attention in provenance research for still-displaced Nazi-looted art.
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Савицкая, Т. Е. "The Leiden views in the collection of the Radishchev State Art Museum in Saratov: reality and fantasy." Iskusstvo Evrazii [The Art of Eurasia], no. 1(24) (March 30, 2022): 156–63. http://dx.doi.org/10.46748/arteuras.2022.01.015.

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Статья посвящена исследованию двух городских пейзажей, обозначенных как виды Лейдена, из собрания Саратовского государственного художественного музея имени А.Н. Радищева. Пейзаж, поступивший в 1920 г. как работа голландского художника XVII века, является имитацией старой голландской живописи, выполненной, предположительно, на рубеже XVIII–XIX веков. Имитатор, изображая в качестве типичного голландского городка XVII века фантазийный образ Лейдена, стремится указать на связь с традициями старых голландцев. Другой пейзаж, поступивший как работа неизвестного мастера, атрибутирован голландскому мастеру XIX века П.Г. Вертину (1819–1893). Художник соединяет реальность и фантазию, главная задача, которую он решает, — передать игру света на узкой улице. Сравнение двух работ из собрания Радищевского музея наглядно иллюстрирует два разных подхода к традиции голландского городского пейзажа. Имитация XVIII – начала XIX века является примером механического обращения к искусству старых мастеров, работа П.Г. Вертина показывает, как профессиональный художник XIX столетия, опираясь на наследие предшественников, решает художественные задачи, соответствующие своему времени. При всём различии решаемых художниками задач работы объединяет одно — обращение к образу Лейдена как к эмблеме, олицетворению Голландии эпохи золотого века живописи. The article is about the paintings of two town views (oil on panel) which are marked as the views of Leiden, from the collection of the Radishchev State Art Museum in Saratov. The first landscape was transferred to the museum in 1920. It was created by an unknown Dutch artist by the late 18th – early 19th century, imitating old Dutch painting tradition. The artist was deeply influenced by Dutch painting tradition of the 17th century both stylistically and technically. He created the fantasy image of Leiden as a typical Dutch river town of the 17th century to highlight a connection with the old Dutch painting tradition. Another town view was transferred to Radishchev Museum as a work of an unknown master in 1972. The painting was later attributed to the Dutch master of the 19th century P.G. Vertin (1819–1893). It is a typical artwork done by P.G. Vertin who used to play with reality and fantasy. The artist aims to solve the subtle play of the light and shadows on a narrow town street. The comparison of two Leiden views from the Radishchev State Art Museum in Saratov collection clearly illustrates two different approaches to the tradition of the Dutch town landscape. The imitation painting is an example of a mechanical approach to the old Dutch art. The artwork by P.G. Vertin shows how a professional artist of 19th century sees the art heritage of his predecessors as a solid base, but solves artistic problems in a modern way, corresponding to his time. The image of Leiden as a typical Dutch town is a reflection of the general art trend. The artists had different approaches and solved different tasks. However, they have one important thing in common: both of them see the image of Leiden as an emblem, the embodiment of Holland in the era of the Golden painting age.
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Büttner, Nils. "Rubens’ landscapes and the Dutch Republic." Oud Holland – Journal for Art of the Low Countries 136, no. 2-3 (September 6, 2023): 89–102. http://dx.doi.org/10.1163/18750176-1360203003.

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Peter Paul Rubens (1577-1640) is generally regarded as the painter of the Counter-Reformation and the embodiment of Flemish Baroque. Since the founding of the Belgian state in 1830, he and his art have been increasingly appropriated as a point of reference for the cultural identity of Flanders. Art was also appropriated in the formation of the national identity of the Kingdom of the Netherlands – in particular the depiction of nature and landscape that had become a speciality of many painters in the northern provinces. But Rubens too was admired by his contemporaries for his landscapes, and in the Dutch Republic they were held in high esteem. For his part, Rubens can be shown to have followed closely developments in landscape painting on the Northern side of the border. Despite the difficult political situation, there was also an ongoing exchange between North and South, even during the Eighty Years’ War. Rubens bought and owned Dutch pictures, and added human and animal figures to landscapes of his Dutch colleagues. He took a general interest in such pictures as an incentive to paint landscapes himself, which, reproduced in prints, became well-known in the Dutch Republic. In terms of landscape art, not only can a lively exchange of images and ideas be demonstrated, but it can also be shown that the existing differences were not understood as an expression of different political or religious contexts. The example of Rubens and his landscapes shows the value of a change of perspective to focus not on the differences between Flemish and Dutch art, but on cultural cross-border connections.
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Dissertations / Theses on the topic "Landscape painting, Dutch"

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Ruddock, Joanna Mavis. "Dutch artists in England : examining the cultural interchange between England and the Netherlands in 'low' art in the seventeenth century." Thesis, University of Plymouth, 2017. http://hdl.handle.net/10026.1/8632.

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The seventeenth century was an incredibly fascinating time for art in England developmentally, especially because most of the artists that were receiving the commissions from English patrons and creating the art weren’t English, they were Dutch. Over this one hundred year period scores of Dutch artists migrated over from the Dutch Republic and showed England this Golden Age of painting that had established Dutch artists back in the Netherlands as pioneers in their line of work. In studies of Anglo-Dutch art, portraiture is a genre that has been widely researched; Peter Lely (a Dutch-born portraitist) is one of many widely acclaimed artists of this genre; comparative to many of the artworks and artists chosen for this research. Generally Anglo-Dutch relations, politically, economically, religiously and of course culturally there was, during the seventeenth century, so much going on between these two nations. Did this intense ever-changing relationship have an impact on that the other ‘low’ genres of art that was produced throughout this century? This research involves understanding and thinking about the impact of the cultural exchange that took place between England and the Netherlands in the seventeenth century on ‘low’ art – marine, landscape and still life painting. This research entails thinking about the origins of these genres as well as looking at individual paintings on a detailed basis and understanding how this cultural interchange manifests and translates itself through visual motifs – objects (large and small), stylistic characteristics and theme of the painting. Various themes and interpretations - in particular iconography and iconology, descriptive versus narrative art and national identity - have been explored and considered in order to gain a comprehensive understanding of the literature that already exists for this art in an effort to consider something new but to also interpret the paintings in a different way – this research has considered these paintings through the visual elements and has explained the cultural significance they provide.
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Metzger, Alexis. "Le froid en Hollande au Siècle d'or : essai de géoclimatologie culturelle." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010652/document.

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A travers l’exemple du froid en Hollande au XVIIe siècle, nous souhaitons montrer que la géographie culturelle a sa place dans les études géoclimatologiques. Cette thèse tisse alors des ponts entre plusieurs champs de la géographie (climatologie, géographie historique, géographie culturelle…) et de l’histoire (histoire du climat, histoire de l’art…). Le XVIIe siècle s’inscrit dans une période climatique marquée par un rafraîchissement global des températures : le petit âge glaciaire (1300 à 1850 environ). En analysant des peintures hollandaises hivernales et des sources écrites avec le regard du géoclimatologue, plusieurs questions se posent. Pourquoi à une certaine période (le Siècle d’or allant de 1600 à 1672 environ) et dans un territoire bien précis (les Pays-Bas), des peintres ont-ils donné ses lettres de noblesse au froid ? Quels éléments météorologiques sont représentés ou non-représentés ? Que disent les sources écrites sur le climat de l’époque où les tableaux ont été peints ? Quelle imagerie du froid est-elle créée et que sous-tend cette imagerie ? Les résultats de recherche montrent que les artistes ont été parfois directement inspirés par certains hivers rudes. Le premier paysage d’hiver hollandais d’Avercamp est daté de 1608, hiver particulièrement rigoureux. Ensuite, la mode des paysages d’hiver perdure et les peintres ne représentent qu’un seul type de temps d’hiver alors même que les sources écrites témoignent de la variabilité du climat à plusieurs échelles de temps. Une imagerie de l’hiver a été créée. Elle participe de la construction identitaire de cette jeune nation que sont les Pays-Bas au XVIIe siècle
This Ph.D dissertation aims at showing that cultural geography is relevant for geoclimatological studies. At the crossroad of many subfields in geography (climatology, historical geography, cultural geography…) and in history (history of climate, history of art…), it focuses on cold weather and its representations in the Netherlands during the XVIIth century. This period takes place during the Little Ice Age (c. 1300-1850), a limited climatic period, characterized by a cooling of the temperatures in Europe. The analysis of Dutch paintings and written sources with a geoclimatologist’s view point raises many questions. Why did the painters give their letters of nobility to the cold in this period (the Golden Age, c. 1600-1672) and in this bounded territory (the Netherlands) ? What meteorological elements are being represented? Which ones are missing? What pieces of information do the written sources give on the climate at the time the paintings were made? What imagery of the cold was thus created and what do the images stressed? The results of that research show that the artists were at times directly inspired by some rigorous winters. The first winter landscape by Avercamp is painted in 1608, a severe winter. Then, the vogue for winter landscapes continues. However, the painters represent just one type of meteorological condition in winter, whereas the narrative sources reveal the variability of the climate in different time scales. Nevertheless, an imagery of winter was created. It is said to be part of the identity construction process of the Netherlands, an upcoming nation in the XVIIth century
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Protschky, Susanne School of History UNSW. "Cultivated tastes colonial art, nature and landscape in the Netherlands Indies." 2007. http://handle.unsw.edu.au/1959.4/40554.

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Culitivated Tastes argues for a new evaluation of colonial landscape art and representations of nature from the Netherlands Indies (colonial Indonesia). The thesis focuses on examples from Java, Sumatra, Ambon and Bali during the nineteenth and early twentieth centuries, but also discusses early post-colonial literature. It uses paintings and photography, with supporting references to Dutch colonial novels, to argue that images of landscape and nature were linked to the formation of Dutch colonial identities and, more generally, to the politics of colonial expansion. Paintings were not simply colonial kitsch (mooi Indi??, or 'beautiful Indies', images): they were the purest expression of Dutch ideals about the peaceful, prosperous landscapes that were crucial to uncontested colonial rule. Often these ideals were contradicted by historical reality. Indeed, paintings rarely showed Dutch interventions in Indies landscapes, particularly those that were met with resistance and rebellion. Colonial photographs often supported the painterly ideals of peace and prosperity, but in different ways: photographs celebrated European intrusions upon and restructuring of Indonesian landscapes, communicating the notions of progress and rational, benevolent rule. It is in literature that we find broader discussions of nature, which includes climate as well as topography. Here representations of landscape and nature are explicitly linked to the formation of colonial identities. Dutch anxieties about the boundaries of racial and gender identities were embedded within references to Indies landscape and nature. Inner colonial worlds intersected with perceptions of the larger environment in literature: here the ideals and triumphs associated with Dutch colonial expansion were juxtaposed against fears related to remaining European in a tropical Asian landscape.
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Books on the topic "Landscape painting, Dutch"

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B, Greenshields E. Landscape painting and modern Dutch artists. Toronto: Copp, Clark, 1996.

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Sutton, Peter C. The golden age of Dutch landscape painting. [Madrid]: Fundación Colección Thyssen-Bornemisza, 1994.

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Albert, Blankert, Rijksmuseum (Netherlands), Museum of Fine Arts, Boston., and Philadelphia Museum of Art, eds. Masters of 17th-century Dutch landscape painting. Boston: Museum of Fine Arts, 1987.

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Albert, Blankert, ed. Masters of 17th-century Dutch landscape painting. London: Herbert, 1988.

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Verbraeken, René. La peinture de paysage en Hollande au XVIIe siècle. Paris: Editions du Panthéon, 1995.

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Janssen, Paul Huys. The Hoogsteder exhibition of Dutch landscapes. The Hague: Hoogsteder & Hoogsteder, 1991.

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Loos, Wiepke. Langs velden en wegen: De verbeelding van het landschap in de 18de en 19de eeuw. Blaricum: V+K Publishing/INMERC, 1997.

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1948-, Brown Christopher, Steland Anne Charlotte, and Dulwich Picture Gallery, eds. Inspired by Italy: Dutch landscape painting, 1600-1700. London: Dulwich Picture Gallery, 2002.

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Popma, Jentsje. Jentsje Popma: Kunstenaar met een missie. Leeuwarden: Friese Pers Boekerij/Noordboek, 2021.

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Slive, Seymour. Jacob van Ruisdael: Master of landscape. London: Royal Academy of Arts, 2005.

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Book chapters on the topic "Landscape painting, Dutch"

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Kahr, Madlyn Millner. "Landscape and Seascape." In Dutch Painting in the Seventeenth Century, 204–39. Routledge, 2018. http://dx.doi.org/10.4324/9780429500893-10.

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Adams, Laurie Schneider. "Seventeenth-Century Dutch Painting II: Landscape, Still Life, and Vermeer." In Key Monuments of the Baroque, 137–53. Routledge, 2019. http://dx.doi.org/10.4324/9780429039508-8.

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"Schilderachtig: A Rhyparographic View of Early 17th-Century Dutch Landscape Painting." In Landscape and the Visual Hermeneutics of Place, 1500–1700, 195–208. BRILL, 2020. http://dx.doi.org/10.1163/9789004440401_007.

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"Schilderachtig: A Rhyparographic View of Early 17th-Century Dutch Landscape Painting." In Landscape and the Visual Hermeneutics of Place, 1500–1700, 195–208. BRILL, 2020. http://dx.doi.org/10.1163/9789004440401_007.

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Mathias, Nikita. "Starting Points." In Disaster Cinema in Historical Perspective. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463720120_ch02.

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The starting point of my historical trajectory (the iconography of the sublime) is the second half of the eighteenth century. This was when the aesthetic appreciation of natural disaster events and the establishment of the sublime as a category of landscape perception became closely intertwined. Mapped out as a dense network of discourses, practices, and cultural phenomena, my analysis of this historical constellation stretches from, among others, seventeenth-century Dutch landscape painting and art academic understandings of the sublime to the Lisbon earthquake of 1755, the Picturesque, and natural scientific discourses to Grand Tour travelers and modern mass tourism.
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Sambrani, Chaitanya. "Affandi (1907–1990)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2089-1.

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Affandi was an Indonesian modernist artist best known for his expressive paintings depicting scenes of everyday life and his own emotional states, as well as for his portraits of family members. He is known as the first Indonesian modernist to gain international recognition. Affandi was largely self-taught, and while his work reflects strong affiliations with post-impressionist and expressionist tendencies in European art, there is no evidence to show that he studied these systematically. Affandi is best known for his technique of applying paint on to canvas directly from the tube and for working with his fingers instead of brushes, resulting in thick impasto and energetic gestural work that was well-suited to realising his goals of conveying emotionally charged images. During the period of revolutionary resistance against the Dutch (1945–9) Affandi was active in painting posters encouraging armed rebellion. He was a founding member of several Indonesian artists’ organisations including Gabungan Pelukis Indonesia [Union of Indonesian Painters], Jakarta, 1948. Throughout a career that spanned the late Colonial and Postcolonial periods in Indonesian history, Affandi was officially recognised and celebrated on several occasions by state and academic agencies in Indonesia, India, the USA, Singapore and Japan. His final home and studio in Yogyakarta, Indonesia, is now the Museum Affandi, and features a display of his works as well as several eccentric architectural, design and landscape aspects.
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