The Group Portraiture of Holland
Getty Research Institute for the History of Art and the Humanities, 1999 - Art - 412 pages
In The Group Portraiture of Holland, art historian Alois Riegl (1858-1905) argues that the artists of sixteenth- and seventeenth-century Holland radically altered the beholders relationship to works of art. Group portraits by artists such as Rembrandt and Frans Halls reflect an egalitarian viewpoint not found in the more hierarchically structured Italian works of the same period. First published in 1902 and here in English for the first time, the book opened up areas of inquiry that continue to engage scholars today.
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Introduction Wolfgang Kemp The Group Portraiture of Holland
The Early Stages
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action activity Alois Riegl Amsterdams Historisch Museum Anatomy Lesson arrangement artistic volition attentiveness background banquet Barendsz captain century chiaroscuro civic guard group color composition Cornelisz create depicted device diagonals direction Dirk Jacobsz earlier evolution example expression external figures foreground Frans Hals free space gazes Geertgen genre painting genre scene gesture guard group portrait guardsmen guild Haarlem Hals's hand haptic Helst history painting individual interaction internal coherence Italian Jacobsz.'s Jan van Scorel Ketel Keyser Kunst und Industrie left-hand Lesson of Dr lieutenant look Mittheilungen modern motif movement Night Watch objective obviously painters period physical pictorial conception Pieter Pieter Aertsen Pietersz plane portrait painting Portraiture of Holland psychological regent group portrait regentesses relationship Rembrandt Riegl right-hand Rijksmuseum Saint John Scorel side sitters spatial center Staalmeesters standard-bearer standing subordination symbolic Teunissen Thomas de Keyser tion Tulp turned unified Utrecht Valckert viewer viewing subject