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所在平台: Udemy |
课程主页: https://www.udemy.com/course/painting-in-the-early-dutch-republic/
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课程名称：早期荷兰共和国的绘画 课程概述：随着三十年战争的结束和威斯特法利亚条约的签署，宗教宽容的原则以及新的荷兰共和国的建立，北欧的绘画艺术焕发出新的活力与可能性。根植于佛兰德文艺复兴的北方绘画传统——包括风景画、静物画和肖像画——经历了显著的变革，反映出经济繁荣和国家自豪感的提升。艺术家如哈斯、维米尔和伦勃朗对其作品进行了深刻的变革，开创了艺术的新形式和可能性，为现代艺术的体验奠定了基础。比如，今天我们拍集体照时，早期荷兰的集体肖像画家为这种成像传统的发展做出了贡献。 十七世纪的荷兰绘画记录了许多影响现代西方认知的重要变迁。三十年战争结束后，宗教自由使新教徒摆脱了国家支持的迫害，这为独特的宗教氛围和新型艺术作品的繁荣创造了条件，而荷兰黄金时代新兴的全球经济则为艺术的奢华赞助提供了可能。范戴克所描绘的英王查理一世的形象，是英格兰绝对主义统治者风格的最后代表；此时，确立法律的议会这一现代西方国家的基本形式也开始出现。 随着中产阶级的崛起，人们对艺术品的需求在家庭中开始流行，形成了一种我们今天可能视为理所当然的家居装饰习惯。从十七世纪的荷兰开始，艺术品的消费逐渐平民化——从集体肖像到富含道德寓意的日常生活场景，使得艺术史的视角不再仅限于皇家与精英的赞助，而是扩展至更广泛的社会层面。荷兰共和国的建立，奠定了消费模式的基础，使我们至今在家庭和公共领域中得以与图像进行常态化的互动与体验。
When the Thirty Years' War came to a close and the Treaty of Westphalia established both the principle of religious toleration and the establishment of the new Dutch Republic, painting in Northern Europe was revitalized with a new sense of purpose and possibility. Northern conventions in painting with their roots in the Flemish Renaissance- the landscape, the still-life, and the portrait- all underwent significant transformations which reflected the new climate of economic prosperity and the burgeoning national pride in the land's productivity and the Protestant peoples' industry. Artists like Hals, Vermeer, and Rembrandt brought sweeping changes to their works which forever changed the possibilities of what art could be and the forms which it could take, laying the foundations in many senses for how art is encountered in modern settings. Most of these we might take for granted; for example, next time you pose for a group photo, you have the early Dutch group portrait painters to thank for the development of this convention in imaging. The developments which we see in Dutch painting of the seventeenth century document some of the major currents of change which have shaped what we perceive to be the modern West today. The religious freedom which freed the Protestants from state-sponsored persecution at the conclusion of the Thirty Years War allowed a distinct religious climate and a new kind of artwork to flourish and to receive the lavish patronage which the Dutch Golden Age's emerging global economy permitted. The image we have of the English King Charles I from Van Dyck is one of our last for the absolutist style of ruler in England; by and large, the bodies of parliament which establish the laws in modern Western countries are also emerging phenomena of this era. The desire for artwork in the homes of the growing middle class at the time anticipates the conventions for home decoration which we perhaps take for granted today; from seventeenth century Holland do we begin to see the consumption of artwork on such an equalized scale- from group portraits to scenes from every-day life with a coded moral- that we no longer can trace the phenomena of art history primarily through the lens of royal and elite patronage, as we have done so far in the art histories of Italy, France, England, and the other monarchies of Europe. With the establishment of the Dutch Republic so too did patterns of mass consumption become established which anticipated the common experience and interaction with images in the home and in the public sphere through the present day.
