The Art of the Dutch Republic
'Dutch art (is) not …a literal record of social experience, but …a document of beliefs.' Do what extent to the following sources support this view with regard to the Dutch Republic in the seventeenth century? (750 words)
Human expression provides a mechanism by which human behaviour can be studied by the historian, and in aesthetic expression such as art, the historian can study the beliefs which influence human behaviour. Within the alleged 'Golden Age' of the Dutch Republic can be found a diverse mixture of paintings, and sources 1-3 show three different genres in particular: landscape, portrait and still life. Provided that the limitations of making generalisations over these paintings are considered, they both support and contradict the above view of Simon Schama, perhaps because of -- in his words -- 'the moral ambiguity of good fortune' (source 4) which seemed to exist tantamount to social experience in the Netherlands.
Source 1 is superficially a 'literal record of social experience.' Topographically, it can provide insight into the type of land which existed in the Northern Provinces, and the reliance on agriculture and natural wind power to reclaim land and provide nutrition. However, although Dutch painters conveyed realism in terms of the photographic nature of their work, this did not mean that their paintings were exact representations of specific landmarks. In source 1, the church and the windmill shown could be specific religious symbols, reiterating the views of sources 6 and 7 - fellow Dutch contemporaries - that the 'hand of God' and the 'eternal covenant' were imperative in the Dutch securing their freedom from Spain. The windmill -- as well as conveying a soci...
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...ason that it is only possible to speculate about the true meaning of the golden age as the extent of its diversity makes it a complex historical discussion. What can be concluded about the art is that the 'lens of moral sensibility' -- in the words of Simon Schama -- seemed to influence the gaze of most artists and for this reason, the view of throughout this essay is focusing on the 'document of beliefs' within Dutch Art as opposed to the view of more socio-economic historians such as Michael North. It was the moralising heart of the republic which ensured its economic success, its tolerant attitude towards religion, the rise of the bourgeoisie and, paradoxically, the republic's eventual downfall.
Bibliography:
Art and commerce in the Dutch Golden Age - Michael North
The Embarrassment of Riches - Simon Schama
Dutch Painting - Christopher Brown
Louis Le Nain (1593-1648) shifted his perspective of the manner in which peasants or common folk were represented. Unlike his peers, Le Nain decided to use a more realistic approach in his paintings. As our text states, “subjects that in Dutch paintings were opportunities for boisterous good humor, Le Nain treated with somber stillness” (Kleiner F.S. p. 609). Indeed Le Nain wanted the people he painted to represent the hardships of daily life and the dignity in which they carried it out. In the painting “Family of Country People” this technique is clearly on display.
Vroom, Hendrik Cornelisz. Hollandse Schepen Overzeilen Spaanse Galeien Onder De Engelse Kust. 1617. Oil on canvas. Rijksmuseum, Amsterdam.
The artists Jean-Honore Fragonard and Jaques-Louis David both successfully embody their respective stylistic differences. Fragonard’s style of painting is Rococo, which is characterized by its softness, asymmetry and curviness. Contrasting these ideals is David’s style of painting, Neo-Classicism. Neo-Classicism is synonymous with strong gestures, symmetry, and solidness. Two works that best exemplify the ideals of each style of painting are Fragonard’s The Swing, 1767 and David’s The Death of Socrates, 1787. Although at first glance, it is easier to focus on how each work is different to the other, one can argue that they are similar in theme. Both The Swing and The Death of Socrates are works that deal with the theme of decision making. However, they differ in how each work portrays the theme of deciding. While The Swing focuses on infidelity and the process of deciding, The Death of Socrates makes it clear that loyalty to government is stronger than the ties of friendship or acquaintance. By examining use of light, form, subject matter as well as other artistic elements, one can see how each artist conveys a message by utilizing their style of art.
Prior to the 1650’s, the Dutch Republic was the wealthiest and most powerful province in Holland through Amsterdam, the leading force in trade and banking. Many European nations were jealous of their success and wanted it for themselves which resulted in conflicts between the Dutch and many European powers. As a result, the Dutch Republic entered a period of decline until the Peace of Utrecht of 1713. The expensive wars with England and France, decline in trade and distrust between the Dutch provinces led to challenges in security, unity and prosperity of the Republic.
In the early 16th century the Netherlands experienced what was called “tulip mania” this was the beginning of the nations love for flora and foliage (Taylor 13). The result of this impressive flower invasion was a society that took a historical turn from which the results still remain today. Flower merchants, botanists and floral still life artists, were occupations that were an accurate reflection of the Netherlands demands (Brown). An interesting example of a life that was effected by, and devoted to the archiving of the flower craze was Rachel Ruysch (1664-1750) the 17th century Dutch flower painter. Rachel Ruyschs’ career straddled the 17th and 18th century, and her stunningly accurate floral pieces reflect the maturing, yet evolving art of floral still life painting (“Rachel Ruysch: Bibliography”). Ruyschs’ Still Life with Flowers on a Marble Tabletop (1716) is an excellent example of a painting that appropriately represents the genre of art that was created solely through specific societal events.
The 18th century is well known for its complex artistic movements such as Romantism and Neo-classical. The leading style Rococo thrived from 1700-1775 and was originated from the French words rocaille and coquille which meant “rock” and “shell”; used to decorate the Baroque gardens1. Identified as the age of “Enlightenment”, philosophers would ignite their ideas into political movements1. Associated with this movement is England’s John Locke who advanced the concept of “empiricism”. This denotes that accepting knowledge of matters of fact descends from experience and personal involvement1. Locke’s concept assisted the improvements of microscopes and telescopes allowing art students in the French academy to observe real life1. Science and experience influenced painting more so in Neo-Classicalism. Locke fought for people’s rights and the power or “contract” between the ruler and the ruled. Reasoning that “the Light in Enlightenment referred to the primacy of reason and intellect…and a belief in progress and in the human ability to control nature”1. Hence, the commence of experimental paintings such as Joseph Wright’s (1734-1797) oil on canvas painting: Fig.1 An Experiment on a Bird in the Air Pump. This image was developed through science by placing a bird in glass container and pumping air to see the effects it would have on the bird (White cockatoo)1. Throughout the late 18th and early 19th century in Western Europe, Neo-Classical art became the “true Style” and was accepted by the French Revolution under Louis XIV. Neo-Classical art was a reaction to Rococo’s light hearted, humour and emotion filled pieces.
She uses sources from researchers and historians from different areas of study. Some art historians she quotes from include Fredick Antal, Fritz Novotny and A M Hammacher whom explains Van Gogh’s artwork based on his emotions and feelings. She also quotes researchers such as doctors, philosopher like Karl Jaspers, Rey and Peyron as well as writers such as Meyer Schapiro who tries looking at his works on a psychological level. The quotes she takes are relatively long and can take up as much as half a page and are quotes which she later disregards and argues that it is incorrect. By doing this, she is proving her point that she is right and those researchers have to look deeper into the meaning.
Goldwater, Robert and Marco Treves (eds.). Artists on Art: from the XIV to the XX Century. New York: Pantheon Books, 1945.
...individual human being, worthy of our own unique individual response” (Weschler, p. 21). As we look at these paintings it is easy for us to connect to the subject matter, they all pertain to ethics. The contemplation of life and death, picking the right path for our highest and best good, forgiveness and taking pride in what you are doing. Each day we are faced with moral dilemmas and for the most part people choose to be good and do the best they can. These four paintings allow us to see the intersubjectivity in others as well as in ourselves.
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