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The ‘learned eye’ or oculus eruditus was once an idea utilized by seventeenth-century writers on portray. It illustrated their view that the precise artist used to be not just expert in portray options, but in addition had wisdom of the heritage of artwork and an curiosity in poetry and literature.

In this publication, devoted to Rembrandt student Ernst van de Wetering, the ‘learned eye’ refers back to the skilled eye of the paintings historian, the curator, or the restorer. extra in particular, the concept that explains a topic principal to knowing seventeenth-century artwork and its context: the artist’s obstacle with the highbrow and social prestige of his career. The booklet includes contributions on Rembrandt, Van Dyck, Frans Hals, Poussin and others, all associated through the subject of the ‘learned eye’, targeting studio perform, idea of artwork, or the advance of the artist's self-image.

These topics mirror the scope of analysis and educating of Ernst van de Wetering who first knowledgeable as an artist prior to turning into an artwork historian. considering 1987 he has been professor of paintings historical past on the collage of Amsterdam, and, for greater than ten years, the inspiring chief of the Rembrandt study Project.

The significance of beginning with the artwork item itself is a well-recognized notion to somebody who has attended the lectures of Ernst van de Wetering, whose personal familiarity with the painter’s craft, with Rembrandt’s studio perform, and the historical past of artwork has ‘opened the eyes’ of many.

This booklet brings jointly essays by way of a few of Van de Wetering’s scholars, colleagues and associates, who have been stimulated in numerous methods by means of his method of the paintings of portray. The members contact on 4 major matters. the 1st matters fabric features of the murals. moment, those findings are faced with the foundations of artwork that have been recorded by way of contemporaries. 3rd, the ‘learned eye’ figures as a part of the artists’ wish to increase the prestige in their career. The fourth factor situates portray in its context of buyers and paintings fanatics, who desired to study the elemental ideas of portray and procure ‘eruditos oculos’ themselves.

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37 ‘t Gedenkt mij dat ik, in zeker aerdich geordineert stukje van Rembrandt, verbeeldende een Johannes Predicatie, een wonderlijke aendacht in de toehoorderen van allerleye staaten gezien hebbe: dit used to be ten hoogsten prijslijk’, Inl. p. 183. 38 C. Huygens, Fragment eener autobiographie, ed. J. A. Worp, s. l. , s. a. p. seventy seven. Huygens composed the manuscript within the interval 1629-1631. 39 R. de Piles, Abregé de los angeles Vie des Peintres, Paris 17152 (16991), p. 423: ‘Il scavoit citadel bien qu’en Peinture on pouvoit, sans beaucoup de peine, tromper l. a. vûë en representant des corps immobiles et inanimez; et non content material de cet artificé assez commun, il chercha avec une extrême software celuy d’imposer aux jeux par des figures vivantes. ’ forty L. H. ten Kate, Verhandeling over het Denkbeeldige Schoon der Schilders, Beeldhouwers en Dichters, Amsterdam 1720 (HS 1436 UBA), pp. 7-8: ‘[hij geeft] door een kunstige verdeeling van licht, om dezelven beter te doen uitblinken, gewoonlyk aan zyne eenvoudige beelden spreekende vrolykheden en gemoedsbeweegingen, verzeld van eene gemaklyke en ongemaakte houding’. forty-one G. Vossius, ‘De Graphice, sive arte pingendi’, in: De Quator Artibus Popularibus, Grammatistice, Gymnastice, Musice, & Graphice, liber. Amsterdam 1690 (16501), § 19, p. 70, makes use of Pathopoios as a synonym for ‘Affectus effingens’: ‘Hinc Graphice Callistrato, ubi Aesculapii statuam describit, vocatur “ethopoios techne”, ars mores effingens. Ac poterat similiter “pathopoios” (affectus effingens) dicere. ’ forty two See additionally White & Buvelot, Rembrandt by way of Himself (see be aware 23), p. 219. forty three Inl. p. 299, see additionally p. one hundred ten. Comp. Van Mander, Den grondt (see observe 3), VI sixty five, p. 509, p. 511, with a connection with Pliny. forty four Quintilian, Inst. orat. vi. ii. 32: ‘Intersequitur ‘enargeia’ quae a Cicerone illustratio et evidentia nominatur, quae non tam dicere videtur quam ostendere; et adfectus nonaliter, quam si rebus ipsis intersimus, sequentur. ’ forty five Junius, portray of the Ancients (see notice 10), p. 265. Junius interprets Quintilian’s Greek time period enargeia through energia, making no contrast among different, even if similar, Greek phrases enargeia and energeia. He thereby expresses his conviction that enargeia and energeia are overlapping suggestions. within the Dutch model, the matter is refrained from by means of leaving out the time period altogether: ‘Dies plaghten oock dieghene allerley herts-tochten te nae haeren eyghenen lust ghemackelick te ghebieden, die dese verbeeldinghen recht-wel begrijpen, sonder but te verswijmen ‘t welck tot de waere omstandigheden behoort. Waer op dan d’uytdruckelickheyd ofte duydelickheyd plaght te volghen, die ons de gantsche saecke soo blijckelick voor d’ooghen stelt, als of wy de naeckte vertooninghe der dinghen selver aenschouden. ’ Junius, Schilder-konst der Oude (see observe 10), p. 291. at the suggestions of enargeia and energeia see Michels, Bewegung (see be aware 16), p. sixty one, p. 182. thijs weststeijn 127 boek The discovered Eye V5 09-02-2005 16:51 Pagina 128 forty six See the lemma on energia within the thesaurus to Junius, portray of the Ancients (see word 10), p.

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