Scenes of Everyday Life. Dutch Genre Painting of the Seventeenth Century; Masters of Seventeenth-century Dutch Genre Painting (catalogue of The Age of Vermeer and De Hooch, Royal Academy, 1984)

1984 ◽  
Vol 7 (2) ◽  
pp. 64-65
Author(s):  
C. FORD
Author(s):  
Marta Miguel Borge

<p>No cabe duda de que los inventarios de bienes proporcionan una información muy valiosa sobre el léxico de la vida cotidiana. En nuestro caso, hemos realizado un muestreo en la comarca de Tierra de Campos en el siglo XVII. El corpus documental se configura a partir de protocolos notariales obtenido en los Archivos Históricos Provinciales de León, Palencia, Valladolid y Zamora. Estos inventarios constituyen una herramienta fundamental para conocer el léxico de los bienes y objetos que componían el día a día de las personas. En nuestro caso, el campo semántico estudiado se centra en la actividad agrícola.</p><p>There is no doubt that property inventories provide invaluable information about the lexicon of everyday life. In our case, we have carried out a sampling in the Tierra de Campos region (Castile and Leon, Spain) in the 17th century. The documentary corpus has been taken from the notarial protocols from the Provincial Historical Archives of León, Palencia, Valladolid, and Zamora. These inventories are an essential tool to find out the lexicon of the goods and objects of people's daily life. In our case, focused on agricultural activity.</p>


1998 ◽  
Vol 34 ◽  
pp. 175-186
Author(s):  
Susan Hardman Moore

Patriarchs at home, but brides of Christ in spirit: it is an intriguing fact that while puritan writers opposed any confusion of gender roles in everyday life, they were happy for men to adopt a feminine identity in spiritual experience. On one hand, seventeenth-century conduct books and sermons hammered home the divinely-ordained place of husbands and wives in marriage. William Whately (1583-1639) argued that wives should always have on their lips the refrain ‘Mine husband is my superior, my better’, and thatas our Lord Jesus Christ is to his Church … so must [the husband] be to his wife an head and Saviour … the Lord in his Word hath intitled him by the name of head: wherefore hee must not stand lower than the shoulders…. That house is a … crump-shouldered or hutcht-backt house, where the husband hath made himself an underling to his wife, and given away his power to an inferior.


2020 ◽  
Vol 9 (3) ◽  
pp. 123-139 ◽  
Author(s):  
Katie Downs

This article highlights a time when Northern artists were no longer allowed to paint or carve holy images as they had done during the Middle Ages and the Renaissance. The Catholic Church banned this art form due to the interpretation of the second commandment: ‘Thou shalt make no graven image of thy God’. Genre paintings were the outcome of this banishment and a way to represent and depict an everyday life scene in a Dutch seventeenth-century household. The paintings would show the best of a situation and also its worst counterpart in almost a mocking comical way. By exploring these paintings, we come to understand how women were fed propaganda into becoming a better housewife, mother and bearing the weight of physical nourisher to all. Although amusing, the images have been celebrated and considered legendary during the Golden Age of the Netherlands. While taking a closer look at genre paintings and the everyday practices of the Dutch household, we can connect patterns to how these paintings affected women and influenced their domestic duties in the Golden Age.


Author(s):  
Valentin Kitanov

The penetration of tobacco into the Ottoman Empire was followed by a ban on its production and use in the seventeenth century. The lifting of the ban in 1688 led to the rapid spread of production and trade with tobacco products and made smoking widely popular in the Ottoman society. Although smoking was prevalent mainly among Muslims, the chibouk and the hookah became distinctive attributes and, for generations, an integral part of the cultural characteristics of sultan’s subjects, regardless of their religious or national affiliation. Whether it was consumed free or secretly due to penal laws, smoking became emblematic of the social and cultural representation of the Ottoman realm and, in a way, it was affiliated with a particular zone of comfort and tranquillity, an escape from all worries and problems of everyday life.


Author(s):  
JOSEPH LEO KOERNER

This chapter discusses the rise of a painting in everyday life in Northern Europe. It focuses on the representations of ‘everyman’ in the art of the early pioneers of genre painting: Pieter Bruegel the Elder and Hieronymus Bosch. It considers the figure of ‘trapping’ in these artists, as a model both of everyman's relation to the world and of the picture's relation to the viewer.


2003 ◽  
Vol 14 (1) ◽  
pp. 39-64
Author(s):  
Nancy Senior

Abstract Selected passages from twelve English translations of Molière’s Tartuffe are studied. The passages are chosen because of questions they raise about the language of everyday life and of religion in seventeenth-century France. The translators choose the extent to which they will keep the structures and references of the original text, or adapt them for easier access by a contemporary audience. They also choose between the French tradition of a dark, menacing interpretation, and the North American one of seeking the maximum of laughs.


2021 ◽  
Vol 27 (2) ◽  
pp. 217-232
Author(s):  
Barbara Hryszko

The aim of this article is to present the circumstances of Noël Coypel’s appointment as rector of the French Academy in Rome and to trace the route of his didactic journey from Paris to Rome with the Prix de Rome scholars entrusted to him. The paper is an attempt to answer the following questions: why a more difficult route through the Alps was chosen (and not, for example, a river and sea route), in what way was the journey educational, and what role did the documents given to Coypel play in securing the expedition. The article is based on an analysis of administrative records during the reign of Louis XIV, lists of superintendents and directors of the French Academy in Rome, accounts of royal buildings, and minutes of the Royal Academy of Painting and Sculpture in Paris. The paper uses the analytical method, the comparative method, the synthetic method, source criticism, argumentum ex silentio inference, and the geographical method when discussing the itinerary. Although the trip was purposeful and related to Coypel’s new position, he designed it in such a way as to not so much get to the destination quickly, but to show his students as much as possible. Coypel introduced the royal scholars to masterpieces of painting and sculpture at centers along a route through Dijon, Lyon, Chambéry, the Mont Cenis Pass, Turin, Milan, Bologna and Florence. The crossing of the Alps, though dangerous, was most often chosen because of the artistic reputation of the cities there. The trip was educational at the expense of comfort or safety. Coypel, as a guide and teacher (paidagōgós – παιδαγωγός) led his charges by overseeing their learning during and through the journey. Wandering to the Eternal City was part of a painter’s education (paideía – παιδεία) in the seventeenth century and was part of Coypel’s didactic work allowing young people to be inspired by direct exposure to masterpieces. The journey had an eminently didactic and artistic character, but also an initiatory one, as it gradually initiated and prepared the students for the experience of Rome, the center of artistic life at that time.


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