Bram Van Oostveldt – författare

Contrary to what Kant believed about the Dutch (and their visual culture) as “being of an orderly and diligent position” and thus having no feeling for the sublime, this book argues that the sublime played an important role in seventeenth-century Dutch visual culture.By looking at different visualizations of exceptional heights, divine presence, political grandeur, extreme violence, and extraordinary artifacts, the authors demonstrate how viewers were confronted with the sublime, which evoked in them a combination of contrasting feelings of awe and fear, attraction and repulsion. In studying seventeenth-century Dutch visual culture through the lens of notions of the sublime, we can move beyond the traditional and still widespread views on Dutch art as the ultimate representation of everyday life and the expression of a prosperous society in terms of calmness, neatness, and order.The book will be of interest to scholars working in art history, visual culture, architectural history, and cultural history.The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND 4.0) 4.0 International license. Funded by Ghent University.

Contrary to what Kant believed about the Dutch (and their visual culture) as “being of an orderly and diligent position” and thus having no feeling for the sublime, this book argues that the sublime played an important role in seventeenth-century Dutch visual culture.By looking at different visualizations of exceptional heights, divine presence, political grandeur, extreme violence, and extraordinary artifacts, the authors demonstrate how viewers were confronted with the sublime, which evoked in them a combination of contrasting feelings of awe and fear, attraction and repulsion. In studying seventeenth-century Dutch visual culture through the lens of notions of the sublime, we can move beyond the traditional and still widespread views on Dutch art as the ultimate representation of everyday life and the expression of a prosperous society in terms of calmness, neatness, and order.The book will be of interest to scholars working in art history, visual culture, architectural history, and cultural history.The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND 4.0) 4.0 International license. Funded by Ghent University.

The most famous monument of the Dutch Golden Age is undoubtedly the Amsterdam Town Hall by architect Jacob van Campen inaugurated in 1655. Today we stand in awe confronted with the grand Classicist façade, the delightful horror of the sculptures in the Tribunal, and the magnificence of the huge Citizens'' Hall. In the period of its construction, many artists and writers tried to capture the overwhelming impact of the building by, among other comparisons, relating it to the ancient Wonders of the World and by stressing its splendour, riches, and impressive scale. In doing so, they constructed the Town Hall as the ultimate wonder, thus offering a silent, but very powerful testimony to the power and position of the City of Amsterdam and its rulers as equals of the other European regimes.To fully understand these mechanisms of power, this book relates the Town Hall to other, impressive buildings of the same period-the palace of the Louvre, Saint Peter''s Basilica, and Banqueting House-and their visual and textual representations. Thus, this book gives a broad audience of readers new insights into the agency of magnificent buildings. The Amsterdam Town Hall in Words and Images does not restrict itself to a national scope or a purely architectural analysis, but clarifies how artists and writers all over Europe presented buildings as wonders of the world. This book is pioneering in its analysis of seventeenth and eighteenth-century paintings, prints, drawings, poems, and travel accounts and offers a new understanding of how the wondrous character of these grand buildings was constructed.

The most famous monument of the Dutch Golden Age is undoubtedly the Amsterdam Town Hall by architect Jacob van Campen inaugurated in 1655. Today we stand in awe confronted with the grand Classicist façade, the delightful horror of the sculptures in the Tribunal, and the magnificence of the huge Citizens'' Hall. In the period of its construction, many artists and writers tried to capture the overwhelming impact of the building by, among other comparisons, relating it to the ancient Wonders of the World and by stressing its splendour, riches, and impressive scale. In doing so, they constructed the Town Hall as the ultimate wonder, thus offering a silent, but very powerful testimony to the power and position of the City of Amsterdam and its rulers as equals of the other European regimes.To fully understand these mechanisms of power, this book relates the Town Hall to other, impressive buildings of the same period-the palace of the Louvre, Saint Peter''s Basilica, and Banqueting House-and their visual and textual representations. Thus, this book gives a broad audience of readers new insights into the agency of magnificent buildings. The Amsterdam Town Hall in Words and Images does not restrict itself to a national scope or a purely architectural analysis, but clarifies how artists and writers all over Europe presented buildings as wonders of the world. This book is pioneering in its analysis of seventeenth and eighteenth-century paintings, prints, drawings, poems, and travel accounts and offers a new understanding of how the wondrous character of these grand buildings was constructed.

The most famous monument of the Dutch Golden Age is undoubtedly the Amsterdam Town Hall by architect Jacob van Campen inaugurated in 1655. Today we stand in awe confronted with the grand Classicist façade, the delightful horror of the sculptures in the Tribunal, and the magnificence of the huge Citizens’ Hall. In the period of its construction, many artists and writers tried to capture the overwhelming impact of the building by, among other comparisons, relating it to the ancient Wonders of the World and by stressing its splendour, riches, and impressive scale. In doing so, they constructed the Town Hall as the ultimate wonder, thus offering a silent, but very powerful testimony to the power and position of the City of Amsterdam and its rulers as equals of the other European regimes.To fully understand these mechanisms of power, this book relates the Town Hall to other, impressive buildings of the same period—the palace of the Louvre, Saint Peter’s Basilica, and Banqueting House—and their visual and textual representations. Thus, this book gives a broad audience of readers new insights into the agency of magnificent buildings. The Amsterdam Town Hall in Words and Images does not restrict itself to a national scope or a purely architectural analysis, but clarifies how artists and writers all over Europe presented buildings as wonders of the world. This book is pioneering in its analysis of seventeenth and eighteenth-century paintings, prints, drawings, poems, and travel accounts and offers a new understanding of how the wondrous character of these grand buildings was constructed.