![]() The time series analysis shows a clear shift of the peak production from the 16th century in Italy to the 17th century in the Low Countries and the 18th century in France. "The paper analyses quantitatively three large data sets of artworks (7473 in total) and their artists (2374 in total) of the Low Countries, of France and of Italy from the 16th century to the present time. Images from the Netherlands Institute of History archive will prove insight to the extent of the role of eroticism in Dutch Mannerism. This dissertation draws on a contextual and object-based approach in which primary published educational books, farces and songbooks from the Dutch seventeenth century as well as more recent secondary sources are used to construct an argument. The role of eroticism in biblical and religious subjects has not been analysed extensively, this dissertation aims to enrich existing research. Subsequently the role of these images in the oeuvre of these artists and in society will be revealed. Finally, chapter three deals with the salacious images with a biblical or religious subject. Chapter two looks at eroticism in works with a mythological subject. The adoption and development of this phenomenon is examined in chapter one. It will focus on the paintings, engravings and drawings between 15 from the artists working in Haarlem and Utrecht. This dissertation will consider the role of eroticism in the art of the Dutch Mannerists of the late sixteenth and early seventeenth century. The authors usually attributed a moralising meaning to them so as to ‘justify’ their appearance. ![]() However, in their time these representations of nudity and salacious images and the subjects they implied were often cited in contemporary writings, songbooks and farces. Further Thys’ participation in a Garland of fruit and flowers by Joris van Son, allows for an excursus on the latter’s production and on his probable collaboration with Jan van Balen among others leading to a greater understanding of several less studied masters from the Antwerp School in the 17th century.īefore the turn of the twenty-first century, the role of eroticism in Dutch art and the purpose of its images has largely being neglected. Given to consider the painting’s compositions, their formal and literary sources of inspiration, and the influences that make-up his style Thys reveals his versatility, a certain degree of classical culture from his time in Italy, and probable contacts with erudite religious circles in Antwerp. ![]() The paintings studied in the present paper, which are the first addition to Gysbrecht Thys’ œuvre, help to define the artistic personality of a previously neglected painter. Although his identity was clarified in 1996 by two essential articles, none of his works have previously surfaced until today. 1684), has for centuries been mistaken for several of his namesakes. The Flemish painter Gysbrecht Thys (also spelled Thijs, Thyssen or Tijssens) (1617- ca.
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