The Visible World: Samuel van Hoogstraten's Art Theory and by Thijs Weststeijn

By Thijs Weststeijn

The obvious global explores the writings of Dutch painter and poet Samuel van Hoogstraten (1627–78)—one of Rembrandt’s pupils—and clarifies his use of painterly issues and concept from the Dutch Golden Age. Van Hoogstraten drew on numerous literary, philosophical, and inventive resources, in addition to from historical past and go back and forth money owed, in writing has magnum opus, creation to the Academy of portray; or the noticeable international (1678) a cross-section of basic seventeenth-century perspectives on artwork in Holland. wondering the explanations of artists represented via van Hoogstraten’s idea, in addition to the contested concerns in the back of Dutch realism and its hidden symbolism, writer Thijs Weststeijn presents an formidable evaluate of seventeenth-century portray throughout the eyes of up to date Dutch artists from the age.

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Extra resources for The Visible World: Samuel van Hoogstraten's Art Theory and the Legitimation of Painting in the Dutch Golden Age (Amsterdam Studies in the Dutch Golden Age)

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Indd 40 09-10-2008 17:05:58 Lipsius, and Aristotelianism to the ideas on perception laid down in Aristotle’s De anima. We shall be using the term ‘Platonism’ (and ‘Neoplatonism’) mainly in relation to the denunciation in Plato’s Republic of an art focusing purely on outward forms, and the converse – that an art capable of penetrating to what lies behind these outward forms would be of value. Where possible, the relevant texts will be indicated whenever these terms are used. 106 This interpretation fails to take into account the fact that the painter-poet shows himself to be perfectly aware that his work stands in a particular literary tradition.

80 Here Van Hoogstraten unhesitatingly equates poetry with painting, in referring to two equivalent Muses: efforts spent on one could equally well have been devoted to the other. 81 Van Hoogstraten’s explicit wish to vie with Virgil and Ovid by writing in Dutch can therefore be compared to his ambitions as a painter. e. they inspire in Dutch as well as in Latin]’;82 he similarly invokes one of the Muses at the beginning of each separate chapter of the Inleyding, and the treatise thus becomes a plea for the art of painting to be invested with the same social and intellectual status as that due to the writing of poetry.

This might indeed have been a treatise with guidelines for a virtuous life. 98 In the seventeenth century, ethics was dominated largely by Neostoicism, one of the most authoritative of the intellectual schools in the Republic that reinterpreted ideas from antiquity. 101 Most of the Inleyding’s philosophical borrowings are accompanied by references to the ancient Stoics, in particular to the works of Plutarch and Seneca. 102 One of the central views of this philosophy is that the rules of meaningful human behaviour are embedded in nature.

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