Added: June 3, 2017 – Last updated: June 3, 2017


Author: Daniela Hammer-TugendhatTranslator: Margarethe Clausen

Title: The Visible and the Invisible

Subtitle: On Seventeenth-Century Dutch Painting

Place: Berlin

Publisher: Walter de Gruyter

Year: 2015

Pages: 340pp.

Series: Edition Angewandte

ISBN-13: 9783110426908 – Find a Library: Wikipedia, WorldCat | ISBN-13: 9783110423044 (EPUB) – Find a Library: Wikipedia, WorldCat | ISBN-13: 9783110423013 (PDF) – Find a Library: Wikipedia, WorldCat

Language: English

Keywords: Modern History: 17th Century | European History: Dutch History | Representations: Art / 17th-Century Art



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Author: Daniela Hammer-Tugendhat, Abteilung Kunstgeschichte (Department of Art History), Universität für angewandte Kunst Wien (University of Applied Arts Vienna) – Wikipedia


  Preface (p. 9
  Part I Visible becomes Invisible
Gender Construction in Rembrandt’s Works (p. 13)
  1 On Female Representation or
On the disappearance of male protagonists from the field of representation (p. 15)
    An alternative to traditional patterns of femininity? — Bathsheba (p. 15)
    Reversals — Woman in Bed (p. 28)
    Discourses on femininity (p. 38)
    Dangerous gazes — Susanna (p. 42)
    Fatal looks and a laughing nymph — Diana and her Nymphs Bathing, with Actaeon and Callisto (p. 51)
    Where have all the men gone? (p. 54)
    On the discourse of rape — Lucretia (p. 56)
      Sources and their re-interpretations (p. 58)
      Lucretia fever (p. 63)
      Social practice (p. 71)
      Rembrandt — An entirely different Lucretia? (p. 75)
      Radical positions (p. 89)
      Querelle des Femmes (p. 91)
  2 On Male Representation or
On the disappearance of female protagonists from the field of representation (p. 99)
    Differences (p. 102)
      The impossible reversal I — women as ‘rapists’ or Potiphar’s Wife (p. 102)
      The impossible reversal II — erotic images of men for a female gaze? (p. 106)
    Self-Images — Self-Portraits (p. 107)
    De Staalmeesters or Public representation is male (p. 118)
      Historical summary (p. 119)
      The group portrait (p. 121)
      De Staalmeesters (p. 124)
  3 Asymmetry. Gender Relations in the Field of Sexuality (p. 135)
    Danaë or How the male sex partner was made invisible (p. 136)
    Pornography? (p. 145)
    One objection and three possible answers — Rembrandt’s erotic graphic works (p. 149)
  4 Summary (p. 157)
  Part II Invisible becomes Visible
Painting, not Mimesis (p. 173)
  1 Mirror, Mirror on the Wall …
Woman before the Mirror by Frans van Mieris (p. 175)
  2 The Picture within the Picture or Conveying the world through media
Woman Holding a Balance by Vermeer (p. 193)
    The Final Judgment as the norm? (p. 194)
    The balance (p. 196)
    A Catholic work of art? (p. 199)
    Aesthetic staging (p. 200)
    New views on Vermeer (p. 204)
    Contemporary discourses — Spinoza (p. 214)
    The Final Judgment as an outdated image (p. 217)
  3 Farewell to Lessing’s Laocoon: Leaving behind a Methodological Dispute
Gabriel Metsu’s A Woman Reading a Letter (p. 219)
    (Love)Letters (p. 219)
    Metsu’s A Woman Reading a Letter (p. 225)
    Language and images — a methodological dispute among art historians (p. 232)
    The dichotomy of language and image (p. 235)
    Farewell, Laocoon … (p. 248)
  4 The Gender of Letters (p. 251)
  5 Affect / Emotion / Imagination (p. 259)
    Affects: Dirck Hals (p. 262)
    Emotion: Rembrandt (p. 263)
    Affect awareness (Affekt-Wissen) (p. 272)
    Interiorization: Vermeer (p. 279)
    Imagination: Hoogstraten (p. 285)
    Coda (p. 293)
  Publisher’s note (p. 4), Plates 1-8 (p. 163-171), Plates 9- 14 (p. 301-307)
Literature (p. 309), Illustrations (p. 330), Image credits (p. 336)

Original: Hammer-Tugendhat, Daniela. Das Sichtbare und das Unsichtbare: Zur holländischen Malerei des 17. Jahrhunderts. Cologne 2009. – Bibliographic Entry: Info

Wikipedia: History of Europe: History of the Netherlands / Dutch Republic | History of painting: Dutch Golden Age painting