Genre Imagery in Early Modern Northern Europe: New Perspectives

Author:   Arthur J. DiFuria ,  Dr. Allison Levy
Publisher:   Taylor & Francis Ltd
Edition:   New edition
ISBN:  

9781472449146


Pages:   188
Publication Date:   08 April 2016
Format:   Hardback
Availability:   In Print   Availability explained
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Genre Imagery in Early Modern Northern Europe: New Perspectives


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Full Product Details

Author:   Arthur J. DiFuria ,  Dr. Allison Levy
Publisher:   Taylor & Francis Ltd
Imprint:   Routledge
Edition:   New edition
Dimensions:   Width: 17.40cm , Height: 3.00cm , Length: 24.60cm
Weight:   0.703kg
ISBN:  

9781472449146


ISBN 10:   1472449142
Pages:   188
Publication Date:   08 April 2016
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   In Print   Availability explained
This item will be ordered in for you from one of our suppliers. Upon receipt, we will promptly dispatch it out to you. For in store availability, please contact us.

Table of Contents

"Table of Contents List of Illustrations Notes on Contributors Preface and Acknowledgements 1 Genre: Audience, Origins, and Definitions Arthur J. DiFuria 2 The Value of Play in Early Genre Painting: Lucas van Leyden’s Card Games Jessen Kelly 3 Moralizing Dialogues on the Northern Market Economy: Women’s Directives in Sixteenth-Century Genre Imagery of the Antwerp Marketplace Annette LeZotte 4 Jacques Jordaens’s Twelfth Night Politics Irene Schaudies 5 For the Pleasure and Contentment of the Audience: Gerrit van Honthorst’s The Merry Fiddler: Promoting Civil Behavior in Early Seventeenth-Century Utrecht Sheila D. Muller 6 Adriaen van de Venne’s Cavalier at a Dressing Table: Masculinity and Parody in Seventeenth-Century Holland Martha Hollander 7 Rembrandt and ""Everyday Life"": The Fusion of Genre and History Amy Golahny 8 The Rustic Still Life in Dutch Genre Painting: Bijwerck dat Verclaert Alison M. Kettering Index"

Reviews

"""The essays collected in this book all make contributions to ongoing scholarly debates concerning the nature and reception of genre imagery in early modern Northern Europe."" - CAA Reviews ""Arthur J. DiFuria's edited volume offers a welcome and important collection of new viewpoints on the origins of these pictures and their social functions within early modern culture. Notably, it aims to move beyond the interpretive binary of genre images as either 'slices of life' or 'repositories of ""disguised symbols,""' especially prevalent in the study of Netherlandish art, in search of more nuanced interpretations."" - Historians of Netherlandish Art"


The essays collected in this book all make contributions to ongoing scholarly debates concerning the nature and reception of genre imagery in early modern Northern Europe. - CAA Reviews Arthur J. DiFuria's edited volume offers a welcome and important collection of new viewpoints on the origins of these pictures and their social functions within early modern culture. Notably, it aims to move beyond the interpretive binary of genre images as either 'slices of life' or 'repositories of disguised symbols, ' especially prevalent in the study of Netherlandish art, in search of more nuanced interpretations. - Historians of Netherlandish Art


The essays collected in this book all make contributions to ongoing scholarly debates concerning the nature and reception of genre imagery in early modern Northern Europe. - CAA Reviews Arthur J. DiFuria's edited volume offers a welcome and important collection of new viewpoints on the origins of these pictures and their social functions within early modern culture. Notably, it aims to move beyond the interpretive binary of genre images as either 'slices of life' or 'repositories of disguised symbols, ' especially prevalent in the study of Netherlandish art, in search of more nuanced interpretations. - Historians of Netherlandish Art


Author Information

Arthur J. DiFuria is Professor of Early Modern Northern European Drawings, Prints, and Paintings at Savannah College of Art and Design, USA.

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