Visions of Savage Paradise
Titel
Visions of Savage Paradise
Subtitel
Albert Eckhout, Court Painter in Colonial Dutch Brazil
Prijs
€ 34,99
ISBN
9789048505548
Uitvoering
eBook PDF (Adobe DRM)
Aantal pagina's
288
Taal
Engels
Publicatiedatum
Afmetingen
17.3 x 22.5 cm
Inhoudsopgave
Toon inhoudsopgaveVerberg inhoudsopgave
Table of Contents - 7 Acknowledgments - 10 Introduction - 12 1 Albert Eckhout (ca. 1607-1665/6): Portrait and Still-life Painter at Johan Maurits's Brazilian Court - 28 2 ‘To Reproduce Nature Itself as Perfectly as Possible’: The Brazilian Natural History Drawings of Albert Eckhout - 48 3 Cannibalizing America: From the Ethnographic Impulse to the Ethnographic Portrait - 74 4 Between the Savage and the Civilized: Eckhout’s Brasilianen and Tapuyas - 96 5 Black, Brown, and Yellow: Eckhout’s Paintings of Africans, Mestizos, and Mulattos - 132 6 Eckhout’s Paintings: Location and Interpretation - 172 Conclusion - 202 Colour Plates - 209 Appendix A: Chronological Overview of Albert Eckhout’s Life - 227 Appendix B: Works of Art by Albert Eckhout - 229 Notes - 232 Bibliography - 267 Index of Names - 280 General Index - 283 List of Illustrations - 287

Recensies en Artikelen

Rebecca Parker Brienen's splendid Visions of Savage Paradise gives us much to be grateful for. It provides a thorough and imaginative study of Albert Eckhout's Brazilian paintings and oil studies; it tackles several important questions pertaining to colonial art and empire; and it explores such rich topics as "scientific" illustration, ethnographic representation, and colonial display. Not least, it brings together in one volume far-flung images from Copenhagen, Krakow, Dresden, and Berlin, along with superb graphic material from seventeenth-century imprints--all excellently reproduced. This is a learned and rewarding book sure to interest scholars of colonial and visual studies, Dutch Golden Age art, and early modern history. Benjamin Schmidt School for Historical Studies Princeton University Rebecca Parker Brienen's Visions of Savage Paradise is undoubtedly the most significant study to date of Albert Eckhout's fascinating depictions of Brazlian imagery. For Eckhout's paintings and drawings of this subject matter have long baffled art historians and ethnographers alike. As Parker Brienen amply demonstrates, the artist's Brazilian representations have been traditionally viewed as ricordi, a perspective that raises more questions than it answers. By contextualizing the material within the broader framework of the early modern European understanding of non-European peoples in general and the Dutch experiences in Brazil in particular, Parker Brienen arrives at a much more nuanced and, ultimately, convincing analysis of Eckhout's seemingly enigmatic work. Thus, her book should enjoy a wide readership, engaging not only lay persons but scholars representing a host of different disciplines. Wayne Franits Professor and Chair Department of Fine Arts Syracuse University Brienen’s study meets a vital need in the scholarship on seventeenth-century Dutch art, one that has grown more urgent as the interest in Eckhout has increased in recent years. She examines his significant pictorial record of early modern Dutch Brazil, from the stunning natural history drawings recently rediscovered in Krakow to the still lifes and provocative life-size figures. Usefully placing Eckhout’s figural representations into the longer context of European representations of indigenous Americans and Africans, she critically re-examines past interpretations of this important painting cycle, particularly with regard to the notion of a hierarchy of relative civility, and evaluates new evidence to argue for its disposition within Johan Maurits’ palace of Frijburg in the colony’s capital city of Mauritsstad. The book provides a fuller and even almost poignant understanding of the role of these paintings for the governor-general who commissioned the works, then gave them away to his cousin the King of Denmark in 1654 when the Dutch colony was lost to the Portuguese, and finally in his last years asked for them back, nostalgically recalling the former days of his much-vaunted colonial enterprise. Julie Berger Hochstrasser Associate Professor Early Modern Northern European Art School of Art and Art History The University of Iowa

Rebecca Brienen

Visions of Savage Paradise

Albert Eckhout, Court Painter in Colonial Dutch Brazil

De schilderijen van de Nederlandse kunstenaar Albert Eckhout zijn onlangs getoond op diverse internationale tentoonstellingen in Denemarken, Brazilië en Nederland. Echter, de meest recente monografie van deze kunstenaar, die tijdens de periode dat Brazilië gekoloniseerd was door Nederland en bestuurd werd door de West Indie Compagnie, komt uit 1938. Visions of Savage Paradise is een essentiële hedendaagse en rijk geïllustreerde analyse van Eckhout's schilderijen en tekeningen, die een actuele en grondige analyse geeft van de kunstenaar en zijn Braziliaanse werken.

Het boek bevat een biografische analyse van de kunstenaar en stelt Eckhout's natuurhistorische tekeneningen en etnografische voorstellingen aan de orde. In plaats van alleen deze kunstenaar en zijn werk te behandelen, vergelijkt de auteur zijn werk op het gebied van inhoud en stijl met andere exotische schilders, en bespreekt ze ook Eckhout's stilistische overeenkomsten met andere zeventiende-eeuwse Nederlandse schilders, waaronder Jacob van Campen.

Dit boek is niet alleen interessant voor studenten en wetenschappers van de zeventiende-eeuwse Nederlandse schilderkunst, maar het is ook een interessante bron voor mensen die geïnteresseerd zijn in visuele antropologie en de geschiedenis van de West Indische Compagnie.
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Auteur

Rebecca Brienen

Rebecca Parker Brienen is een Assistant Professor Kunstgeschiedenis aan de Universiteit van Miami. Ze heeft gedoceerd en gepubliceerd over de kunst uit Colonial Dutch Brazil. Dit boek is een vervolg op haar dissertatie: “Art and Natural History at a Colonial Court: Albert Eckhout and Georg Marcgraf in Seventeenth-Century Dutch Brazil,” Northwestern University, 2002.