A Paradox for Painters: Problems in Imitation, Expression, and Reflexivity in the 17th-Century European Painting

This class aims to integrate into a coherent historical narrative the diversity of aesthetic claims, national schools, religious professions, individual styles, and critical approaches that characterize painting in 17th-century Europe. The Italian grand manner of the 16th century—Michelangelo, Titian, etc.—provided a model and a paradox for painters of the following century. Had an apogee been reached, was invention now impossible? In short, how can artists proceed? Did the religious “reform” of the 16th century, the struggle to innovate or preserve the dogma of the Catholic Church, change the rules for painters and their patrons, clients, and institutions? The theory and practice of the “reform” of paintings by the Italian artists Caravaggio and the Carracci are only the first attempts to answer these questions. Next, we study the development of the Flemish school, best characterized by the complex literacy process, theatricality, and brilliant colorism of Rubens and the social and religious concerns that frame the Spanish school, represented by Zubaran, Ribera, and Velazquez. We will deal with the development of realistic painting in Holland, its ideological and theological roots, and the careers of Rembrandt and Vermeer. Finally, we will finish with France—the crossroads of north and south—with naturalistic painters such as Georges de la Tour, classicists such as Nicolas Poussin, and debates between proponents of classical art or of sensuous painting, literary or visual models, theory or practice in picture theory and making. After introductory discussions of the artistic and cultural heritage of each geographical area or the theoretical frameworks of important masters' styles based on contemporary sources, we will intensely study a few representative works through the use of slides. Issues addressed may be chronology and development of styles; the effect of patronage on style and meaning in a work; and the effect on the arts of new religious, political, and social groups and institutions. Aesthetic issues will be raised: the disputed criteria for artistic excellence, contemplation vs. theatricality, epic vs. tragic, the natural vs. the perfect work, the frame vs. the individual object. Readings will range broadly, with particular attention to modern critical approaches applied to 17th-century works. Conference work will be encouraged on works of art in New York museums, art, architecture, and theory from 1400 to the present, including women's patronage of cultural activities.