Judith Noorman – författare

Focusing on the interrelationship between Jacob van Loo's art, honor, and career, this book argues that Van Loo's lifelong success and unblemished reputation were by no means incompatible, as art historians have long assumed, with his specialization in painting nudes and his conviction for manslaughter. Van Loo's iconographic specialty - the nude - allowed his clientele to present themselves as judges of beauty and display their mastery of decorum, while his portraiture perfectly expressed his clients' social and political ambitions. Van Loo's honor explains why his success lasted a lifetime, whereas that of Rembrandt, Frans Hals, and Vermeer did not. Taking an interdisciplinary approach, this book reinterprets the manslaughter case as a sign that Van Loo's elite patrons recognized him as a gentleman and highly-esteemed artist. Uniquely, this book: - redefines Van Loo's place within, and contribution to, the Golden Age of Dutch painting, consistently discussing Van Loo in relation to his contemporaries; - demonstrates that honor was a precondition for artistic success; - allows new insight into the relation between honor, artistic success and socially acceptable behavior, particularly of artists in the Dutch Golden Age.

How did objects move between places and people, and how did they reshape the Republic's arts, cultures and sciences?, 'Objects' were vitally significant for the early modern Dutch Republic, which is known as an early consumer society, a place famous for its exhaustive production of books, visual arts and scientific instruments. What happens when we push these objects and their materiality to the centre of our research? How do they invite us to develop new perspectives on the early modern Dutch Republic? And how do they contest the boundaries of the academic disciplines that have traditionally organized our scholarship?, In Objects, Commodities and Material Cultures, the interdisciplinary community of specialists around the Amsterdam Centre for the Study of Early Modernity innovatively explores the diverse early modern world of objects. Its contributors take a single object or commodity as a point of departure to study and discuss various aspects of early modern art, culture and history: from natural objects to consumer goods, from knowledge instruments to artistic materials. The volume aims to unravel how objects have moved through regions, cultures and ages, and how objects impacted people who lived and worked in the Dutch Republic.

How did objects move between places and people, and how did they reshape the Republic’s arts, cultures and sciences? ‘Objects’ were vitally significant for the early modern Dutch Republic, which is known as an early consumer society, a place famous for its exhaustive production of books, visual arts and scientific instruments. What happens when we push these objects and their materiality to the centre of our research? How do they invite us to develop new perspectives on the early modern Dutch Republic? And how do they contest the boundaries of the academic disciplines that have traditionally organized our scholarship? In Objects, Commodities and Material Cultures, the interdisciplinary community of specialists around the Amsterdam Centre for the Study of Early Modernity innovatively explores the diverse early modern world of objects. Its contributors take a single object or commodity as a point of departure to study and discuss various aspects of early modern art, culture and history: from natural objects to consumer goods, from knowledge instruments to artistic materials. The volume aims to unravel how objects have moved through regions, cultures and ages, and how objects impacted people who lived and worked in the Dutch Republic.