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From the 15th century onward Italy had been the center of the visual arts in Europe. In the 16th and 17th centuries this dominant position of Italian art was acknowledged not just by Italian writers but by the arttheoreticians of other European countries as well. So the artists and patrons in the Netherlands, for example, who regarded their own art as inferior, looked up to Italian art as artistic ideal.
However, this way of thinking arose as a result of approaching the north European art from Italian perspectives. Italian and Netherlandish arts came in contact with each other on the basis of commercial exchange as early as in the 15th century and their mutual relationship was since then developed into a complicated one. Thus, the visual arts of the two countries came to have various aspects in common and at the same time each posessed its own special artistic area in the 16th and 17th centuries.
In order to understand properly the mutual relationship between Italian and Netherlandish arts, we have in fact first of all to examine closely the characteristics of concrete interchanging activities which artists of the two countries carried out. Since this study of influences should be based on investigations on individual artists and groups of artists, it requires both extensive and accurate knowledge about the art of each country. And this has been one of the reasons why art historical research on this theme has been neglected until these days.
Hence, this paper is focused on 17th century Dutch landscape painting and on that of Jan van Goyen in particular to find out its characteristic nature, rather than superficially comparing 17th century landscapes of Italy and the Netherlands. The dunes and farmhouses of van Goyen show its own uniqueness and originality, utterly different from Italian art, so that, on the basis of Oguibe’s theory regarding colonialism, we can speak of multiple cultural centers, and not of one artistic center in 17th century Europe. Dutch landscape painting of van Goyen had, as is well known, its stylistical and iconographical origin in Flemish landscapes and was created in close connection with the political, economical, social and historical conditions of the Netherlands around 1600.
And it was not only the typical Dutch landscape painting but also the other category
of Dutch landscapes, which was highly appreciated by the rich and high social class of the Netherlands, i.e. the italianate landscapes, that was developed independently of Italian art. For the painters of italianate landscapes visited Rome with special interest in the beautiful scenery and warm sunlight in the suburbs of Rome, Campagna, and did not take part in the artistic developments in 17th century Rome. Besides this, the Italian landscape painting also went its own way. 17th century Roman Baroque landscape painting was namely not connected with the then much celebrated Netherlandish landscapes, but had its root in Venetian and Bolognese landscape traditions of Italy.
So Dutch and Italian landscape painting each had its own position and character in the 16th and 17th centuries. In the field of landscape painting which was regarded unimportant by the Italian painters and thus did not attract their attention, Dutch artists could create an original art free from the influence and coexisting with the art of Italians.
However, this way of thinking arose as a result of approaching the north European art from Italian perspectives. Italian and Netherlandish arts came in contact with each other on the basis of commercial exchange as early as in the 15th century and their mutual relationship was since then developed into a complicated one. Thus, the visual arts of the two countries came to have various aspects in common and at the same time each posessed its own special artistic area in the 16th and 17th centuries.
In order to understand properly the mutual relationship between Italian and Netherlandish arts, we have in fact first of all to examine closely the characteristics of concrete interchanging activities which artists of the two countries carried out. Since this study of influences should be based on investigations on individual artists and groups of artists, it requires both extensive and accurate knowledge about the art of each country. And this has been one of the reasons why art historical research on this theme has been neglected until these days.
Hence, this paper is focused on 17th century Dutch landscape painting and on that of Jan van Goyen in particular to find out its characteristic nature, rather than superficially comparing 17th century landscapes of Italy and the Netherlands. The dunes and farmhouses of van Goyen show its own uniqueness and originality, utterly different from Italian art, so that, on the basis of Oguibe’s theory regarding colonialism, we can speak of multiple cultural centers, and not of one artistic center in 17th century Europe. Dutch landscape painting of van Goyen had, as is well known, its stylistical and iconographical origin in Flemish landscapes and was created in close connection with the political, economical, social and historical conditions of the Netherlands around 1600.
And it was not only the typical Dutch landscape painting but also the other category
of Dutch landscapes, which was highly appreciated by the rich and high social class of the Netherlands, i.e. the italianate landscapes, that was developed independently of Italian art. For the painters of italianate landscapes visited Rome with special interest in the beautiful scenery and warm sunlight in the suburbs of Rome, Campagna, and did not take part in the artistic developments in 17th century Rome. Besides this, the Italian landscape painting also went its own way. 17th century Roman Baroque landscape painting was namely not connected with the then much celebrated Netherlandish landscapes, but had its root in Venetian and Bolognese landscape traditions of Italy.
So Dutch and Italian landscape painting each had its own position and character in the 16th and 17th centuries. In the field of landscape painting which was regarded unimportant by the Italian painters and thus did not attract their attention, Dutch artists could create an original art free from the influence and coexisting with the art of Italians.
목차
Ⅰ. 머리말
Ⅱ. 얀 판 호연(Jan van Goyen)의 1630년대 홀란드 풍경화
Ⅲ. 맺음말
문헌목록
Abstract
「이탈리아의 문화적 지배와 17세기 초의 홀란드 풍경화」에 대한 질의(홍진경)
홍진경 선생님의 질의에 대한 답변(이한순)
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