Pub Date : 2023-11-07DOI: 10.1163/22145966-07301004
Rachel Kase
This article explores how Jan Saenredam and Claes Jansz Visscher, two of the Northern Netherlands’ leading printmakers in the early seventeenth century, employ varying graphic strategies to evoke the local coast’s unpredictable and rapidly changing environment. It focuses on two ambitious and relatively large-scale prints with widespread distribution: Saenredam’s 1602 engraving Beached whale near Beverwijk and Visscher’s etching of about 1615 View of Egmond aan Zee . Lively with activity and dense with figures, allegory, text, and civic insignia, the two images integrate cartographic convention, natural history illustration, and landscape imagery. Kase argues that the artists evoke the often imperceptible forces that animate and change the outermost edges of landscape, exhibiting environmental awareness through their concern for the shared facture of the landscape and the resultant prints. Their images, therefore, could act as a proxy through which seventeenth-century Netherlanders engaged with the instability of their coastal environs.
本文探讨了17世纪早期荷兰北部的两位主要版画家Jan Saenredam和Claes Jansz Visscher如何采用不同的图形策略来唤起当地海岸不可预测和快速变化的环境。它的重点是两幅雄心勃勃且分布广泛的相对大规模的版画:Saenredam于1602年在Beverwijk附近雕刻的搁浅鲸鱼和Visscher于1615年左右蚀刻的Egmond aan Zee视图。这两幅图像生动活泼，充满人物、寓言、文字和公民标志，融合了制图惯例、自然历史插图和景观图像。Kase认为，艺术家们唤起了通常难以察觉的力量，这些力量赋予和改变了景观的最外层边缘，通过他们对景观和由此产生的版画的共同制作的关注来展示环境意识。因此，他们的形象可以作为17世纪荷兰人应对沿海地区不稳定的代理。
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Pub Date : 2023-11-07DOI: 10.1163/22145966-07301001
Editors Netherlands Yearbook for History of
{"title":"Preliminary Material","authors":"Editors Netherlands Yearbook for History of","doi":"10.1163/22145966-07301001","DOIUrl":"https://doi.org/10.1163/22145966-07301001","url":null,"abstract":"","PeriodicalId":29745,"journal":{"name":"Netherlands Yearbook for History of Art-Nederlands Kunsthistorisch Jaarboek","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135545452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article introduces the conceptual framework of the volume Wetland. Shaping environments in Netherlandish art and presents a brief state of research. Using three examples – the loss of woodlands and its impact on painting, Dutch hydrological technology in the service of the colonization of Brazil, and the surge of a new Land art in the Netherlands in the face of climate change – the authors highlight the contemporaneity of early modern representations of Netherlandish landscapes against the background of ecological crisis.
{"title":"Wet land’s past futures","authors":"Joost Keizer, Ann-Sophie Lehmann, Stephanie Porras","doi":"10.1163/22145966-07301002","DOIUrl":"https://doi.org/10.1163/22145966-07301002","url":null,"abstract":"This article introduces the conceptual framework of the volume Wetland. Shaping environments in Netherlandish art and presents a brief state of research. Using three examples – the loss of woodlands and its impact on painting, Dutch hydrological technology in the service of the colonization of Brazil, and the surge of a new Land art in the Netherlands in the face of climate change – the authors highlight the contemporaneity of early modern representations of Netherlandish landscapes against the background of ecological crisis.","PeriodicalId":29745,"journal":{"name":"Netherlands Yearbook for History of Art-Nederlands Kunsthistorisch Jaarboek","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135545754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-07DOI: 10.1163/22145966-07301010
Anna-Rosja Haveman
In Anna-Rosja Haveman’s essay, the largely forgotten work of the Groningen artist Han Jansen is examined. Her analysis unpacks the artistic oeuvre, within a broader perspective of the nature-culture debates in art and society. The public discussion that emerged around the Waddenprojects brings to bear contrasting ideas about nature in society. By embedding the project in the historical context of emerging environmental activism, the tensions inherent in art that aims to ‘raise awareness of nature’ become clear. As illustrated, the position of Han Jansen remains paradoxical: while he certainly intended to contribute to the awareness of nature and reconfigured hierarchies between humans and nature during the making process, the project created an image of a human, the artist, as polluter without further reflection on the ethics of his own actions.
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Pub Date : 2023-11-07DOI: 10.1163/22145966-07301008
Anja Novak
The construction of Flevoland is the largest land reclamation project in the Netherlands to date. Its completion around 1970 coincided with the emergence of a new postmodern art form, Land art. In Flevoland, the abundance of empty space and the desire to promote and give meaning to the new land gave rise to a remarkable collection of site-specific Land art pieces, created by internationally renowned artists on behalf of local governments. This essay unravels the stories these Land art pieces tell about the polders in which they are located. The artworks refer to the history of the man-made landscape and draw our attention to its qualities. But they also express the ambivalent feelings that polder landscapes evoke. In addition to an optimistic pioneering spirit and admiration for the skills of the Dutch hydraulic engineers, the works are also about human conceit and the sheer power of nature. They remind us that we are on precarious ground.
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Pub Date : 2023-11-07DOI: 10.1163/22145966-07301006
Theresa Brauer
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.
山水画可以直接解决世界起源和组织的概念。然而，荷兰的沙丘景观一直是极不稳定的环境，由潮湿的空洞和风吹来的沙子组成，抵抗任何塑造或组织的尝试。特蕾莎·布劳尔(Theresa Brauer)的文章要求读者仔细研究扬·凡·戈扬(Jan van Goyen)的两幅风景画，这两幅风景画在绘画技巧(凡·戈扬使用了一种湿对湿的油画颜料)和它们描绘的主题(荷兰的过渡海岸景观)上都表现出了非凡的流动性。这些作品与Samuel van Hoogstraten对他称之为“zwadderen”的绘画技巧的描述以及Joost van den Vondel对风景画中偶然形式的诗意而不屑一顾的反思进行了对话。这篇文章将扬·凡·戈扬的风景置于17世纪流行的自然理论话语框架内，该话语思考了一个处于运动状态的特定世界。
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Pub Date : 2023-11-07DOI: 10.1163/22145966-07301007
Yannis Hadjinicolaou
Yannis Hadjinicolaou’s contribution focuses on Netherlandish landscape painting in the sixteenth and seventeenth centuries, a time when visual constructions of territory were often accomplished through the lens of falconry as a political tool. Depicting the falcon flying high above the territory transforms the natural landscape into a political one through substituting and extending the ruler’s sovereignty over it. A vertical perspective of power is allowed through the human-fabricated ‘bird’s-eye view’. This territorial aerial ‘view’ offers a political and privileged perspective over a vast, flat, and shapeable landscape through evoking the very etymology of land-schap in Dutch, here embodied by a ‘raptor’s eye’. Notably, an artist has to act like a falcon, sharply monitoring an area, if he or she wants to produce fine landscapes according to art theoretical works of the time. Studying the epistemic imagery of falconry can teach us much about the merging of art and nature together with their respective political implications through visual representations.
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Pub Date : 2023-11-07DOI: 10.1163/22145966-07301003
Oliver Kik
Although the well-documented cartographic involvement of painters has received some partial academic interest, this essay makes a contextual and comparative analysis of the phenomenon of the painter-cartographer in the Low Countries between 1480 and 1550. Contrary to a previous generation of painters, these artists’ involvement in cartographic mapping projects exceeded a mere chorographic visual input. As their familiarity with geometrical principles and trigonometry increased, so did their involvement shift from a purely aesthetic role towards an active input on the technical and scientific design process. By combining art historical archival research with architectural history and the history of mapmaking, this paper explores new perspectives on what united art and science during the early sixteenth century. It is argued that painters’ cartographical endeavors were never considered a side-business next to their more regular painting commissions, but rather that their cartographic involvement aided artists such as Lanceloot Blondeel, Pieter Pourbus, and Jan van Scorel to elevate their social position by their display of geometrical knowledge and their expertise as ingenious geometers.
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Pub Date : 2023-11-07DOI: 10.1163/22145966-07301005
Maurice Saß
This essay examines two late landscape paintings by Peter Paul Rubens that are characterized by an intense engagement with the wetland in which his property Het Steen was located. On the one hand, the large Rainbow landscape from the Wallace Collection in London offers the chance to inquire about the relevance for Rubens’s landscapes of the Stoic imperative of a ‘life in accord with Nature’. On the other hand, the approximately contemporary Flat landscape with clouds from the Barber Institute of Fine Arts in Birmingham, which powerfully evokes the fragility of landscape painting’s bond with an understanding of Nature as an abstract quantity, makes it possible to illuminate the ecological sensibility with which Rubens approaches terrestrial interconnections even beyond prevailing orders of Nature and their implicit hierarchies. In sum, this paper proposes to sound out fresh perspectives that early modern art history can contribute to recent ecocritical discourses.
本文考察了彼得·保罗·鲁本斯(Peter Paul Rubens)的两幅晚期风景画，这两幅画的特点是与他的房产Het Steen所在的湿地密切相关。一方面，来自伦敦华莱士收藏的大型彩虹景观提供了一个机会来询问鲁本斯的“与自然一致的生活”的斯多格主义的必要性的景观。另一方面，来自伯明翰巴伯美术学院的近当代平面景观与云彩，有力地唤起了风景画与理解自然作为抽象数量的脆弱性，使其有可能阐明生态敏感性，鲁本斯甚至超越了普遍的自然秩序及其隐含的等级制度，接近陆地的相互联系。总之，本文提出了早期现代艺术史可以为最近的生态批评话语做出贡献的新观点。
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Pub Date : 2023-11-07DOI: 10.1163/22145966-07301009
Christopher P. Heuer
New Jersey artist Robert Smithson reveled in sites untouched by civilization: ‘I like landscapes that suggest prehistory’, he told an interviewer in 1973, just before his tragic death. ‘I was always interested in origins and primordial beginnings’. Augur of ecological collapse, Smithson maintained a strange connection to Northern Europe. Broken Circle / Spiral Hill (1971) – now meekly dissolving in a sand pit outside of Emmen – survives as the artist’s most famous ‘land reclamation’ project and the sole earthwork he completed outside of the United States. The Drenthe piece stands as a harbinger of what the artist may have achieved with his – not unproblematic – fusion of culture and land management: ‘With my work in the quarry I somehow re-organized a disrupted situation’. Smithson wrote of Broken Circle , ‘Holland [ sic ] is (…) completely cultivated and so much an earthwork itself’. Broken Circle , for its sake, extended Smithson’s dismantling of the bordered, overtly retinal artwork. And this, vaguely Duchampian, notion extended to the work’s material ontology.
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