By Bakker
Boudewijn Bakker, 2016
ΠΡΠ° ΠΊΠ½ΠΈΠ³Π° ΠΏΡΠ΅Π΄Π»Π°Π³Π°Π΅Ρ Π½ΠΎΠ²ΡΠΉ Π²Π·Π³Π»ΡΠ΄ Π½Π° Π½ΠΈΠ΄Π΅ΡΠ»Π°Π½Π΄ΡΠΊΡΡ ΠΏΠ΅ΠΉΠ·Π°ΠΆΠ½ΡΡ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΡ XVII Π²Π΅ΠΊΠ°, ΠΎΡΠΏΠ°ΡΠΈΠ²Π°Ρ ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»Π΅Π½ΠΈΠ΅ ΠΎ Π½Π΅ΠΉ ΠΊΠ°ΠΊ ΠΎ ΡΡΠ³ΡΠ±ΠΎ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΉ, ΡΠ΅Π°Π»ΠΈΡΡΠΈΡΠ½ΠΎΠΉ ΠΈ ΡΠ΅ΠΊΡΠ»ΡΡΠΈΠ·ΠΎΠ²Π°Π½Π½ΠΎΠΉ. ΠΠ²ΡΠΎΡ ΠΈΡΡΠ»Π΅Π΄ΡΠ΅Ρ Π΄ΠΎΠ»Π³ΡΡ ΠΈΡΡΠΎΡΠΈΡ ΠΈ Π½Π°Π·Π½Π°ΡΠ΅Π½ΠΈΠ΅ ΠΏΠ΅ΠΉΠ·Π°ΠΆΠ° Π² Π½ΠΈΠ΄Π΅ΡΠ»Π°Π½Π΄ΡΠΊΠΎΠΉ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΠΈ, ΡΡΠ²Π΅ΡΠΆΠ΄Π°Ρ, ΡΡΠΎ ΡΠ°Π½Π½ΠΈΠ΅ ΠΈ ΡΠ΅ΠΌΠ½Π°Π΄ΡΠ°ΡΠΎΠ³ΠΎ Π²Π΅ΠΊΠ° ΡΠ°Π±ΠΎΡΡ ΠΌΠΎΠΆΠ½ΠΎ ΠΏΠΎΠ½ΡΡΡ ΡΠΎΠ»ΡΠΊΠΎ Π² ΠΊΠΎΠ½ΡΠ΅ΠΊΡΡΠ΅ ΠΈΠ½ΡΠ΅Π»Π»Π΅ΠΊΡΡΠ°Π»ΡΠ½ΠΎΠ³ΠΎ ΠΊΠ»ΠΈΠΌΠ°ΡΠ° ΡΠΏΠΎΡ ΠΈ. ΠΠ½Π°Π»ΠΈΠ· ΡΠΎΡΡΠ΅Π΄ΠΎΡΠΎΡΠ΅Π½ Π½Π° ΠΏΠ΅ΠΉΠ·Π°ΠΆΠ΅ ΠΊΠ°ΠΊ ΡΡΠ°ΡΠ΅Π»ΡΠ½ΠΎΠΌ ΠΈΠ·ΠΎΠ±ΡΠ°ΠΆΠ΅Π½ΠΈΠΈ Π²ΠΈΠ΄ΠΈΠΌΠΎΠ³ΠΎ ΠΌΠΈΡΠ°, ΠΏΡΠΈΠ²Π»Π΅ΠΊΠ°Ρ ΠΌΡΡΠ»ΠΈΡΠ΅Π»Π΅ΠΉ, ΡΠ΅Π΄ΠΊΠΎ ΡΠ°ΡΡΠΌΠ°ΡΡΠΈΠ²Π°Π΅ΠΌΡΡ ΡΡΠ°Π΄ΠΈΡΠΈΠΎΠ½Π½ΡΠΌΠΈ ΠΈΡΠΊΡΡΡΡΠ²ΠΎΠ²Π΅Π΄Π°ΠΌΠΈ.
Boudewijn Bakker, 2016
This work challenges the common scholarly view of 17th-century Dutch landscape painting as modern, realistic, and secularized. Boudewijn Bakker examines the long history and purpose of landscape in Netherlandish painting, arguing that both early and 17th-century Dutch works are best understood within the era's intellectual climate. The analysis focuses on landscape as a careful depiction of the visible world, drawing on thinkers often overlooked by traditional art historians.