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The artist's devices: Illusionism an...

Baines, Lorena.

The artist's devices: Illusionism and imagination in Gerrit Dou's "Painter with a Pipe and Book" (Netherlands).

紀錄類型:	書目-電子資源 : 單行本
正題名/作者:	The artist's devices: Illusionism and imagination in Gerrit Dou's "Painter with a Pipe and Book" (Netherlands)./
作者:	Baines, Lorena.
面頁冊數:	52 p.
附註:	Source: Masters Abstracts International, Volume: 44-02, page: 0586.
Contained By:	Masters Abstracts International44-02.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=1428198
ISBN:	9780542286643

The artist's devices: Illusionism and imagination in Gerrit Dou's "Painter with a Pipe and Book" (Netherlands).
Baines, Lorena.

The artist's devices: Illusionism and imagination in Gerrit Dou's "Painter with a Pipe and Book" (Netherlands). - 52 p.

Source: Masters Abstracts International, Volume: 44-02, page: 0586.

Thesis (M.A.)--University of Delaware, 2005.

Gerrit Dou's Painter with a Pipe and Book (circa 1645) is both a painting of a painting and a painting about painting. It visually represents artistic concepts important to Dou: his manual skill is represented by the illusionistic style of the painting and his learning and imagination are represented by his clever composition, which incorporates devices from portraiture and popular prints, still-life and genre painting. Dou transforms the traditional portrait convention of showing an artist or scholar resting an arm on a ledge by portraying the artist in the Painter with a Pipe and Book smoking a pipe. The act of smoking recalls genre scenes, where the lower classes are shown squandering time. However, tobacco was also thought to inspire artists and appears in many self-portraits. The arched window that frames the Painter is based on both the seeming naturalistic shop windows Dou would have known from life and from Jost Amman's prints illustrating the popular Book of Trades, Das Standebuch, originally printed in 1568. This framing device also commonly framed allegorical still-lifes. Dou's manual skill is evident in his meticulous illusionistic style. Dou presents this work as a painting of a painting: the area within the space of the niche is to be understood as a painting while the black frame, curtain and rod are presented as "real." However, Dou deliberately confuses the "reality" of what he projects by incorporating unexpected consistencies between supposedly distinct areas of the painting.

ISBN: 9780542286643Subjects--Topical Terms:

1000005770
Art History.

The artist's devices: Illusionism and imagination in Gerrit Dou's "Painter with a Pipe and Book" (Netherlands).
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520 $a Gerrit Dou's Painter with a Pipe and Book (circa 1645) is both a painting of a painting and a painting about painting. It visually represents artistic concepts important to Dou: his manual skill is represented by the illusionistic style of the painting and his learning and imagination are represented by his clever composition, which incorporates devices from portraiture and popular prints, still-life and genre painting. Dou transforms the traditional portrait convention of showing an artist or scholar resting an arm on a ledge by portraying the artist in the Painter with a Pipe and Book smoking a pipe. The act of smoking recalls genre scenes, where the lower classes are shown squandering time. However, tobacco was also thought to inspire artists and appears in many self-portraits. The arched window that frames the Painter is based on both the seeming naturalistic shop windows Dou would have known from life and from Jost Amman's prints illustrating the popular Book of Trades, Das Standebuch, originally printed in 1568. This framing device also commonly framed allegorical still-lifes. Dou's manual skill is evident in his meticulous illusionistic style. Dou presents this work as a painting of a painting: the area within the space of the niche is to be understood as a painting while the black frame, curtain and rod are presented as "real." However, Dou deliberately confuses the "reality" of what he projects by incorporating unexpected consistencies between supposedly distinct areas of the painting.
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