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For traditional European history paintings, it was disproportionately male viewers for whom the pictures were considered and produced while women simply acted as passive targets to gaze at for both inside and outside the pictures. However, in the Dutch genre paintings, this historical pattern has changed; pictures were increasingly viewed by female clients. The anticipated beholders of the arts were female as often as they were male, and the very act of beholding became private and domestic. Such a shift in social process in art industry may imply the change in women’s role in society, from a passive target for gazing at into an active subject that controls her own space.
One exceptional representation of the women’s elevated status can be seen in depiction of women seen from behind, refusing men’s gaze and creating their own sphere. In this thesis, I explore the representation of women shown from the rear by three Dutch artists: De Hooch, Ter Borch, and Vermeer. Although they all contracted similar pictorial compositions and lived in the same period, the meaning and intention behind the women’s posture differs from artist to artist.
The three chapters take one artist’s depiction of women from behind as a case study for examining a theme central to all such images. Chapter One focuses on De Hooch’s images of women and the space they inhabit. De Hooch thematizes this female domestic gaze toward other domestic houses by turning the women away from us. Chapter Two focuses on the works of Ter Borch. Ter Borch’s lady can be interpreted differently from De Hooch’s images of women. Particularly, in the aspect of Petrarchism of Alison McNeil Kettering, the back of the women is understood as “aloofness” to the man’s courting. Ter Borch applies this idea of love to a woman seen from behind. Chapter Three explores Vermeer’s practice of defacing women and the lack of facial expression. The images that Vermeer has left us have the close associations with de Hooch’s and ter Borch’s style. However, as shown in previous chapters, this picture cannot be interpreted in any way that I have used for pictures of De Hooch and Ter Borch. In Vermeer’s picture, the back of the woman represents the artist’s new vision of how images operated. This new vision stems from the artists’ interest in negative images.
This study suggests that the women facing away from the audience may be the reflection of the Dutch artists’ “self-awareness” about the power and limitations of pictorial representation. And such trends can be perceived as one of the earliest signs for the rise of modernism.
One exceptional representation of the women’s elevated status can be seen in depiction of women seen from behind, refusing men’s gaze and creating their own sphere. In this thesis, I explore the representation of women shown from the rear by three Dutch artists: De Hooch, Ter Borch, and Vermeer. Although they all contracted similar pictorial compositions and lived in the same period, the meaning and intention behind the women’s posture differs from artist to artist.
The three chapters take one artist’s depiction of women from behind as a case study for examining a theme central to all such images. Chapter One focuses on De Hooch’s images of women and the space they inhabit. De Hooch thematizes this female domestic gaze toward other domestic houses by turning the women away from us. Chapter Two focuses on the works of Ter Borch. Ter Borch’s lady can be interpreted differently from De Hooch’s images of women. Particularly, in the aspect of Petrarchism of Alison McNeil Kettering, the back of the women is understood as “aloofness” to the man’s courting. Ter Borch applies this idea of love to a woman seen from behind. Chapter Three explores Vermeer’s practice of defacing women and the lack of facial expression. The images that Vermeer has left us have the close associations with de Hooch’s and ter Borch’s style. However, as shown in previous chapters, this picture cannot be interpreted in any way that I have used for pictures of De Hooch and Ter Borch. In Vermeer’s picture, the back of the woman represents the artist’s new vision of how images operated. This new vision stems from the artists’ interest in negative images.
This study suggests that the women facing away from the audience may be the reflection of the Dutch artists’ “self-awareness” about the power and limitations of pictorial representation. And such trends can be perceived as one of the earliest signs for the rise of modernism.
목차
Ⅰ. Introduction
Ⅱ. De Hooch’s Woman from Behind and the Domestic Space
Ⅲ. Ter Borch’s Lady from Behind and Petrarchism
Ⅳ. Vermeer, The Negative of Representation, and The Motif of Interruption
Ⅴ. Conclusion
Bibliography
Abstract
참고문헌 (39)
참고문헌 신청
Bryan Jay Wolf / 2001 / Vermeer and the Invention of Seeing / The University of Chicago Press
Chapman, H. Perry / 1990 / Rembrandt’s Self-Portraits: A Study in Seventeenth-Century Identity / Princeton University Press
Chapman, H / 2001 / Home and the Display of Privacy, In Art & home: Dutch Interiors in the Age of Rembrandt / Denver Art Museum and The Newark Museum, Waanders Publishers
Eco, Umberto / 1989 / The Open Work / Harvard University Press
Franits, Wayne E. / 1993 / Paragon of Virtue: Women and Domestic in Seventeenth-Century Dutch Art / Cambridge University Press
Chapman, H. Perry / 1990 / Rembrandt’s Self-Portraits: A Study in Seventeenth-Century Identity / Princeton University Press
Chapman, H / 2001 / Home and the Display of Privacy, In Art & home: Dutch Interiors in the Age of Rembrandt / Denver Art Museum and The Newark Museum, Waanders Publishers
Eco, Umberto / 1989 / The Open Work / Harvard University Press
Franits, Wayne E. / 1993 / Paragon of Virtue: Women and Domestic in Seventeenth-Century Dutch Art / Cambridge University Press
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