In Slavery and the Invention of Dutch Art, Caroline Fowler examines the fundamental role of the transatlantic slave trade in the production and evolution of seventeenth-century Dutch art. Whereas the sixteenth-century image debates in Europe engaged with crises around the representation of divinity, Fowler argues that the rise of the transatlantic slave trade created a visual field of uncertainty around picturing the transformation of life into property. Fowler demonstrates how the emergence of landscape, maritime, and botanical painting were deeply intertwined with slavery's economic expansion. Moreover, she considers how the development of one of the first art markets was inextricable from the trade in human lives as chattel property. Reading seventeenth-century legal theory, natural history, inventories, and political pamphlets alongside contemporary poetry, theory, and philosophy from Black feminism and the African diaspora, Fowler demonstrates that ideas about property, personhood, and citizenship were central to the oeuvres of artists such as Rembrandt van Rijn, Hercules Segers, Frans Post, Johannes Vermeer, and Maria Sibylla Merian and therefore inescapably within slavery's grasp.
Rezensionen / Stimmen
"Slavery and the Invention of Dutch Art dives into unexploited visual and artistic material in the history of racial capitalism's beginnings at the time of Rembrandt. It is also a completely new interpretation of the objectification of the enslaved body by a Reformed religion of an imageless God. This major and refined perspective is made, for the first time, necessary and obvious by Caroline Fowler, who takes the cultural ramifications of racial slavery one step farther, thanks to the means of a bold and expanded art history." -- Anne Lafont, Professor of Art History, Ecole des hautes etudes en sciences sociales, Paris "The scholarly audience and the museum world have been waiting for a book like this for a long time. Given the shifting perspective in Old World heritage institutions on the place of slavery, racialization, and empire, there is a great need for Caroline Fowler's thorough theorization and reflection. An impressive book." -- Karwan Fatah-Black, author of * White Lies and Black Markets: Evading Metropolitan Authority in Colonial Suriname, 1650-1800 * "In this passionate and imaginative book Caroline Fowler offers important new accounts of canonical artists from the portraiture of Rembrandt to the interior scenes of Gerard ter Borch, Frans van Mieris, and Vermeer to the iconoclastic interiors of Pieter Jansz. Saenredam. Brilliant and original." -- Joseph Koerner, author of * Bosch and Bruegel: From Enemy Painting to Everyday Life *
Sprache
Verlagsort
Zielgruppe
Für höhere Schule und Studium
Produkt-Hinweis
Illustrationen
52 illustrations, including 16 in color
Maße
Höhe: 234 mm
Breite: 152 mm
Dicke: 18 mm
Gewicht
ISBN-13
978-1-4780-2809-3 (9781478028093)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Caroline Fowler is Starr Director of the Research and Academic Program at the Clark Institute. She is the author of The Art of Paper: From the Holy Land to the Americas and Drawing and the Senses: An Early Modern History.
Acknowledgments vii
Introduction. Transubstantiation across Atlantic Worlds 1
1. Art Markets and Futures Speculation 22
2.Seascapes and Landscapes 34
3. Monuments and Architectural Painting 52
4. Domestic Interiors and Natural History 81
Conclusion. Historiography and Race 108
Notes 125
Bibliography 141
Index 159
