Tuesday, April 21, 2009

Dutch Flemish School

     When considering the baroque elements within 17th century Dutch painting, a viewer is able to discern what factors define the work's baroque nature but are often left with an impression differing from a similar viewing of Italian baroque art. 
     The Dutch took it upon themselves to master the art of landscape/still life and to redefine the essence of portraiture. Maria van Oosterwyck's Vanitas Still Life (1668) is not merely a picture of flowers and a butterfly, but instead is a didactic suggestion of "the corruptibility of worldly goods, the futility of riches, and the inevitability of death (Fiero 85)." In turn, Gerard ter Borch's The Suitor's Visit (1658) isn't a grand depiction of a biblical scene but instead simply communicates a prosaic moment without any exceptional significance. similar to the portraiture of Judith Leyster. Leyster's Self-Portrait (1630) is an unidealized, honest representation of a woman absorbed in her work, absent from any glorified setting or dignified action. 
     The Dutch Flemish School was able to capture the sincerity of life that the Italian Baroque School chose to overlook. Both art forms are equally influential and equally deserving of appreciation; however, if one wishes to view genuine humanity, one must look to the Dutch Flemish School. 

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