Seventeenth-Century Flemish Garland Paintings: Still Life, Vision, and the Devotional Image

— —

Susan Merriam

Seventeenth-Century Flemish Garland Paintings

Still Life, Vision, and the Devotional Image

Susan Merriam

$110

Paperback

Not in-store but you can order this
How long will it take?

Availability Information

We source books from suppliers in Australia and overseas. For books we don't currently have in stock, the time it takes to get them from our suppliers can vary widely - from a few days to a few months - so we check each book with each supplier to determine the expected time it will take to be supplied to us.

We then advise you accordingly. If the time taken to get any book is too long for you, you can let us know and we will cancel or adjust your order, and refund as required.

To find out the anticipated arrival time for specific items prior to ordering, please contact us by phone or email:

Phone +61 2 9264 3111, or 1800 4 BOOKS (1800 4 26657) if outside Sydney:
option 1 Abbey's Bookshop (Crime, History, Science, Kids & more) • info@abbeys.com.au
option 2 Language Book Centre (ESL & Foreign Languages) • language@abbeys.com.au
option 3 Galaxy Bookshop (Sci-fi, Fantasy, Romance, Graphic Novels) • sf@galaxybooks.com.au

QTY:

English

Routledge
14 October 2016

History of art & design styles: c 1400 to c 1600; Prints & printmaking; Animals & nature in art (still life, landscapes & seascapes)

Series: Visual Culture in Early Modernity

Focusing on three celebrated northern European still life painters”Jan Brueghel, Daniel Seghers, and Jan Davidsz. de Heem”this book examines the emergence of the first garland painting in 1607-1608, and its subsequent transformation into a widely collected type of devotional image, curiosity, and decorative form. The first sustained study of the garland paintings, the book uses contextual and formal analysis to achieve two goals. One, it demonstrates how and why the paintings flourished in a number of contexts, ranging from an ecclesiastical center in Milan, to a Jesuit chapter house and private collections in Antwerp, to the Habsburg court in Vienna. Two, the book shows that when viewed over the course of the century, the images produced by Brueghel, Seghers and de Heem share important similarities, including an interest in self-referentiality and the exploration of pictorial form and materials. Using a range of evidence (inventories, period response, the paintings themselves), Susan Merriam shows how the pictures reconfigured the terms in which the devotional image was understood, and asked the viewer to consider in new ways how pictures are made and experienced.

By: Susan Merriam
Imprint: Routledge
Country of Publication: United Kingdom
Dimensions: Height: 246mm, Width: 174mm,
Weight: 453g
ISBN: 9781138250222
ISBN 10: 1138250228
Series: Visual Culture in Early Modernity
Pages: 220
Publication Date: 14 October 2016
Audience: College/higher education , General/trade , Primary , ELT Advanced
Format: Paperback
Publisher's Status: Active

Contents: Introduction; Origins; Making and breaking: the garland pictures and iconoclasm; Interiors; Daniel Seghers: 'flower painter under God'; 'The cake idol': the Eucharist in a garland; Conclusion; Select bibliography; Index.

Susan Merriam is Assistant Professor in the Division of the Arts at Bard College, USA.

Reviews for Seventeenth-Century Flemish Garland Paintings: Still Life, Vision, and the Devotional Image

'A thoughtful, well-researched, foundational contribution to the literature on still-life painting. Its treatment of the garland pictures in general, and three central artists in this genre more particularly, addresses a major lacuna in the scholarship.' Julie Hochstrasser, University of Iowa. Author of Still Life and Trade in the Dutch Golden Age 'Merriam's monograph offers an exemplary analysis of Flemish garland paintings, a perfect period case study of self-conscious illusion and representation itself during the 17th century. She also attends closely to how such pictures were received by their owners (Chapter 3), including their presence in local Antwerp inventories and their prominence in contemporary local gallery pictures of collection ensembles. Ashgate complement her insights with abundant colour images of these virtuoso pictures. Like 17th-century viewers, modern readers are encouraged to delight in both artistry and the visual world while using such hybrid imagery to contemplate greater matters.' Cassone '... thorough, thoughtful account of these fascinating pictures...' Renaissance Quarterly