{"title":"Zwadderen in oil paint","authors":"Theresa Brauer","doi":"10.1163/22145966-07301006","DOIUrl":null,"url":null,"abstract":"Landscape painting can directly address concepts of the world’s origin and its organization. Dutch dune landscapes, however, were and continue to be extremely unstable environments, consisting of damp hollows and wind-borne sand, and resisting any attempt to be shaped or organized. Theresa Brauer’s essay asks its readers to closely examine two of Jan van Goyen’s landscapes that exhibit exceptional fluidity both in painting technique – Van Goyen utilizes a wet-on-wet application of oil pigments – and in the subject they depict: the transitional coastal landscape of Holland. The works are discussed in dialogue with Samuel van Hoogstraten’s description of a painting technique he calls zwadderen , and with Joost van den Vondel’s poetic yet dismissive reflection on incidental forms in landscape painting. The essay contextualizes Jan van Goyen’s landscapes within the framework of nature-theoretical discourse prevalent in the seventeenth century, which contemplates a particular world in a state of motion.","PeriodicalId":29745,"journal":{"name":"Netherlands Yearbook for History of Art-Nederlands Kunsthistorisch Jaarboek","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2023-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Netherlands Yearbook for History of Art-Nederlands Kunsthistorisch Jaarboek","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1163/22145966-07301006","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
引用次数: 0
Abstract
Landscape painting can directly address concepts of the world’s origin and its organization. Dutch dune landscapes, however, were and continue to be extremely unstable environments, consisting of damp hollows and wind-borne sand, and resisting any attempt to be shaped or organized. Theresa Brauer’s essay asks its readers to closely examine two of Jan van Goyen’s landscapes that exhibit exceptional fluidity both in painting technique – Van Goyen utilizes a wet-on-wet application of oil pigments – and in the subject they depict: the transitional coastal landscape of Holland. The works are discussed in dialogue with Samuel van Hoogstraten’s description of a painting technique he calls zwadderen , and with Joost van den Vondel’s poetic yet dismissive reflection on incidental forms in landscape painting. The essay contextualizes Jan van Goyen’s landscapes within the framework of nature-theoretical discourse prevalent in the seventeenth century, which contemplates a particular world in a state of motion.
山水画可以直接解决世界起源和组织的概念。然而,荷兰的沙丘景观一直是极不稳定的环境,由潮湿的空洞和风吹来的沙子组成,抵抗任何塑造或组织的尝试。特蕾莎·布劳尔(Theresa Brauer)的文章要求读者仔细研究扬·凡·戈扬(Jan van Goyen)的两幅风景画,这两幅风景画在绘画技巧(凡·戈扬使用了一种湿对湿的油画颜料)和它们描绘的主题(荷兰的过渡海岸景观)上都表现出了非凡的流动性。这些作品与Samuel van Hoogstraten对他称之为“zwadderen”的绘画技巧的描述以及Joost van den Vondel对风景画中偶然形式的诗意而不屑一顾的反思进行了对话。这篇文章将扬·凡·戈扬的风景置于17世纪流行的自然理论话语框架内,该话语思考了一个处于运动状态的特定世界。