In her book, the author proposes a look at Dutch painting of the Golden Age through the eyes of contemporary writers. The researcher examines landscapes, genre paintings, still lifes and portraits of both great and small Dutch masters, interpreted in the spirit of 19th-century artistic criticism.

lgrsnf/Seventeenth- Century Dutch Painting and Modern Literature (Polish Studies - Transdisciplinary Perspectives) [3847584].pdf

Germany, Germany

Cover
Series Information
Copyright Information
Table of Contents
List of Abbreviations
Part I: Writer as an Art Historian
Introduction
Mediated Reception
The Status of People Writing about Art
Chapter One: Landscape
“Landscapes in Frames:” Pankiewicz, Makowski, Cybis, and Herbert Following Seventeenth-Century Dutch Landscape Artists (and Fromentin)
First Polish Readers of The Masters of Past Time
A Polemic with Fromentin
Petit Pan de Mur Jaune: Czapski, Herling-Grudziński, and Herbert in the Face of Proust’s Vision of View of Delft
Czapski on Bergotte’s Premortem Illumination
Contre Proust: Herling-Grudziński in Search of the “Little Patch of Yellow Wall”
“That Wall with Warm Light”
Three Lessons of Rapture
Chapter Two: Genre Painting
“Wide-open Door Invites Us:” Writers Peek into Dutch Homes
Doorsien
The Rules of Love Letters
“Silent Witnesses of Eluding Meaning”
“In Painted Silence and Concentration:” Literary Attempts to Individualize the Female Protagonists of Vermeer’s Genre Scenes
Girl Reading a Letter at an Open Window
The Milkmaid
The Lacemaker
“Cloister Aura”
Chapter Three: Still Life
Between Painterly and Literary Perception of Objects: Seventeenth-Century Dutch Still Life in Czapski and Herbert
“The Joy of Looking at Objects:” Ennoblement of Still Life
“Killed Nature”
“Dead” for Czapski: Toward “Purely Painterly Values”
Herbert’s Still Life with a Bridle or a Lesson in Reading Paintings
Metaphysical Realism: Miłosz and “the Dutch, Who Liked to Paint Still Life”
“Realistic” Genres
Realism against Classicism: “Longing for Perfect Mimesis”
Epiphany of a Watering Can
Pan Tadeusz, the Szetejnie Manor, and Dutch Still Lifes
Chapter Four: Portrait
Trouble with Subjectivity in Poetic Reflections on Seventeenth-century Dutch Portraits
Painter of the Gaze: Różewicz’s Hals
Rembrandt under Grochowiak’s Scalpel
Status of the Portrayed
The Painter’s Human Face: Rembrandt’s Self-Portraits in the Mirror of Literature
Rembrandt’s “Painted Autobiography” by Guze
Rembrandt in Różewicz’s Mirror
Rembrandt Covering a Mirror: Herling-Grudziński Argues with Alpers
Conclusion
Part II Zbigniew Herbert’s Little Masters:
A Reconstruction
Introduction
“An Extremely Subjective History of Art”
Origins of the Notion Petits Maîtres
History of Art from an Amateur’s Perspective
Chapter One: Willem Duyster: “The Painter of Great Proustian Melancholy”
“The Rehabilitation Process”
Dolce Far Niente
“A Mature Melancholy”
Chapter Two: Pieter de Hooch as “A Home Poet”
A Painter of Bourgeois Interiors
“Home as the Moral Cosmos”
Chapter Three: Hendrick Avercamp as “The Painter of the Fourth Season”
Avercamp–Brueghel and the Flemish Landscape Tradition
Contribution to Avercamp’s Biography
Winter Landscape with Skaters: Exercises in Ekphrasis
“A Little Excursion into the Field of Dutch Hibernation Customs”
Naivety or “Respect for Reality”
Chapter Four: Hercules Segers as “The Last Mountain Visionary in the Netherlands”
“The Discovery” of Segers
History of Influence
Writer’s Sensitivity
Chapter Five: Pieter Saenredam as “a Portraitist of Architecture”
Saenredam’s “Perspectives”
Workshop Secrets
Against Abstraction
Et Exaltavit Humiles
Conclusion
Series Index

2024-06-15