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020 _a9780823233137
_qprint
020 _a9780823291113
_qPDF
024 7 _a10.1515/9780823291113
_2doi
035 _a(DE-B1597)9780823291113
035 _a(DE-B1597)566000
035 _a(OCoLC)1306540335
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aART015030
_2bisacsh
084 _aonline - DeGruyter
100 1 _aBerger, Harry
_eautore
245 1 0 _aCaterpillage :
_bReflections on Seventeenth-Century Dutch Still Life Painting /
_cHarry Berger.
264 1 _aNew York, NY :
_bFordham University Press,
_c[2022]
264 4 _c©2011
300 _a1 online resource (140 p.) :
_b16 Illustrations, black and white
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tIllustrations --
_tAcknowledgments --
_tPrologue --
_t1 Hyperreality and Truthiness --
_t2 Reading Blake’s “The SICK ROSE --
_t3 Ethics Versus Technics in Seventeenth-Century Dutch Still Life --
_t4 Vanitas: The McGuffin of Still Life --
_t5 Still Life, Trade, and Truthiness --
_t6 The Pretext of Occasion: Floris van Dijck’s Laid Table with Cheese and Fruit, c. 1615 --
_t7 Nature Mourant: The Fictiveness of Dutch Realism --
_t8 The Embarrassment of Niches: Christoffel van den Berghe’s Vase of Flowers in a Stone Niche, 1617 --
_t9 Nature Mourant: Bosschaert’s Leaves, Merian’s Caterpillars --
_t10 “Small-scale Violence” --
_t11 The Darker Spirit: Van Huysum’s Heaps --
_t12 Posies: The Bouquet as Pretext of Occasion --
_t13 Joris Hoefnagel and the Roots of Dutch Flower Painting --
_tConclusion: Allegorical Capture and Interpretive Release --
_tEpigraph Sources --
_tNotes --
_tIndex of Names
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aCaterpillage is a study of seventeenth-century Dutch still life painting. It develops an interpretive approach based on the author’s previous studies of portraiture, and its goal is to offer its readers a new way to think and talk about the genre of still life. The book begins with a critique of iconographic discourse and particularly of iconography’s treatment of vanitas symbolism. It goes on to argue that this treatment tends to divert attention from still life’s darker meanings and from the true character of its traffic with death. Interpretations of still life that focus on the vanity of human experience and the mutability of life minimize the impact made by the representation of such voracious pillagers of plant life as insects, snails, and caterpillars. The message sent by still life’s preoccupation with these small-scale predators is not merely vanitas. It is rapacitas. Caterpillage also explores the impact of this message on the meaning of the genre’s French name. We use the conventional term nature morte (“dead nature”) without giving any thought to how misleading it is. Because so many portrayals of still life involve cut flowers, which, although still in bloom, are dying, it would be more accurate to name the genre nature mourant. The subjects of still life are plants that are still living, plants that are dying but not yet dead.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 03. Jan 2023)
650 7 _aART / European.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9780823291113
856 4 0 _uhttps://www.degruyter.com/isbn/9780823291113
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780823291113/original
942 _cEB
999 _c202458
_d202458