Lipsius’ De constantia, 17th Century Still Life Painting and the Use of Constancy Today

2020 ◽  
Vol 65 (Special Issue) ◽  
pp. 35-53
Author(s):  
Anisia Iacob
Keyword(s):  
Present Article ◽  
Moral Philosophy ◽  
17Th Century ◽  
Still Life ◽  
Art Production ◽  
General Experience ◽  
The One ◽  
Main Ideas ◽  
Stoic Philosophy ◽  
Still Life Painting

"Lipsius’ De constantia, 17th Century Still Life Painting and the Use of Constancy Today. The present article revisits the main ideas from Justus Lipsius’ De constantia in the light of the present ongoing pandemic. Through his interest for the Stoics, Lipsius was able to contribute to a more general and European interest towards this topic, reviving the Stoic philosophy under the name of Neostoicism. The influence of his ideas can be seen in some art production, especially the one that is connected to the places where Lipsius lived and it is a testimony to their popularity and the various ways of transmitting them. Even if the Stoic ideal remains an ideal, the Neostoicism of Justus Lipsius is meaningful in as much as any philosophy that deals with crises because it can help us view the text from both its relevancy and our recent general experience. The isolation, the anxiety, the uneasiness and fear are emotions that have been more or less present in our lives during this pandemic and they require a solution. Constancy is the solution that Justus Lipsius proposes. Keywords: Justus Lipsius, Neostoicism, Still Life Painting, Pandemic, Moral Philosophy, Crisis Philosophy."

Dutch Flower Still Life of 17th Century: Interest and Oblivion through the Centuries

2021 ◽  
Vol 18 (5) ◽  
pp. 496-505
Author(s):  
Olga Yu. Kulakova
Keyword(s):  
20Th Century ◽  
The United States ◽  
17Th Century ◽  
Consumer Society ◽  
Still Life ◽  
Art Dealers ◽  
The Subject ◽  
Auction Prices ◽  
The 19Th Century ◽  
Still Life Painting

Over three and a half centuries, the genre of flower still life created by Dutch artists experienced ups of interest and oblivion. There were the maximum assessment of society in the form of high fees of the 17th century artists; the criticism of connoisseurs and art theorists; the neglect in the 19th century and the rise of auction prices and close attention of art critics, manifested from the middle of the 20th century to the present day. In the middle of the 17th century, there was already a hierarchy of genres, based on both the subject and the size of the paintings, which was reflected in the price. Still lifes and landscapes were cheaper than allegorical and historical scenes, but there were exceptions, for example, in the works of Jan Brueghel the Elder and Jan Davidsz. de Heem. Art theorists Willem van Hoogstraten and Arnold Houbraken, resting upon academic tastes, downplayed the importance of still-life painting. Meanwhile, the artists themselves, determining the worth of their paintings, sought for maximum naturalism, and such paintings were sold well.In the 20th century, this genre attracted the attention of collectors in Europe and the United States. A revival of interest in Dutch still lifes in general, and in flower ones in particular, began in the 20th century, the paintings rose in price at auctions, and collecting them became almost a fashion. Art societies and art dealers of the Netherlands and Belgium organized several small exhibitions of still lifes. The course for studying symbolic messages in still lifes, presented by Ingvar Bergström, is continued by Eddie de Jong, who emphasizes the diverse nature of symbolism in Dutch painting of the 17th century. Svetlana Alpers, on the contrary, criticizes the iconological method and presents the Dutch painting of that period as an example of visual culture. Norman Bryson’s view of Dutch still lifes is formed against the background of the development of a consumer society, economic prosperity and abundance. Finally, there has been an increasing interest in the natural science aspects of flower still-life painting in the researches of the last twenty years. Curiosity, skill, and admiration for nature are the impulses that can still be felt in the images of bouquets and fruits.

scholarly journals Seashells in Dutch Still-Life Painting of the 17th Century

2021 ◽  
pp. 104-121
Author(s):  
O.Yu. Kulakova ◽  
Keyword(s):  
Historical Context ◽  
17Th Century ◽  
Stylistic Analysis ◽  
Still Life ◽  
Cultural Phenomenon ◽  
New Type ◽  
Correct Direction ◽  
Still Life Painting

Dutch still-life is a distinctive cultural phenomenon of the 17th century. Collecting of rarities, curiosities, plants, paintings, sculptures and many other rare things was characteristic for that period. Seashells which were brought from the exotic countries attracted the attention and love of collectors and artists. J. Hoefnagel was one of the first who took an interest to seashells in the emblems. In the early Dutch flower still-life shells were found occasionally but from the beginning of the first quarter of the 17th century artists started to add these graceful creations almost into all compositions with flower bouquets and fruits. New type of still-life with seashells appeared abundantly in painting of Balthasar van der Ast, Jan Davidsz de Heеm, Abraham Beyeren, Willem Kalf and others. While the naturalism in still-life painting brought to the maximum, there was a problem of veracity in depicting shells in the engravings, for example, in Rembrandt’s work. This problem was eventually solved only in the second half of the 17th century, so engravings and zoological illustrations began to show the curl of the shells in its correct direction, exactly clockwise. This research poses problems of the appearance of shells as collectibles and Dutch still-life’ motifs, visual traditions and shells’ classification in the paintings. The article is relevant with interdisciplinary method; some mollusks zoological names with indication of their origin place are given; the cultural and historical context is generalized; the stylistic analysis takes into account the emblematics’ traditions.

scholarly journals The 1623 Plan for Global Governance: the obscure history of its reception

2015 ◽  
Vol 58 (2) ◽  
pp. 146-160
Author(s):  
GERMAN A. DE LA REZA
Keyword(s):  
Present Article ◽  
Global Governance ◽  
17Th Century ◽  
League Of Nations ◽  
The Other ◽  
Limited Impact ◽  
History Of ◽  
The Creation ◽  
The One

Abstract In the present article we analyze the characteristics and the reception of the first plan for global governance, the New Cyneas by Émeric Crucé. With this goal in mind, we examine the history of its readings and the possible influence on the Duke of Sully's project for European confederation, the case most often cited by historians of ideas. Our analysis takes into consideration the 17th century reception, the scant dissemination of the work and the possible causes of its limited impact. Our conclusions support, on the one hand, the novelty of Crucé's principal ideas, and on the other, their limited impact over the time with the exception of the period surrounding the creation of the League of Nations.

scholarly journals “Ut Pictura Poesis”: the Poetic and Pictorial Emblem of the Baroque

2015 ◽  
pp. 94-101
Author(s):  
Irina M. Sakhno
Keyword(s):  
17Th Century ◽  
Visual Metaphor ◽  
Still Life ◽  
The World ◽  
Baroque Art ◽  
Visual Dictionary ◽  
Biblical Texts ◽  
Ut Pictura Poesis ◽  
Still Life Painting

The article describes parallelism of the two arts, poetry and painting, in the emblematic books of the Baroque epoch. In the Baroque art, an emblem, as a visual metaphor, formed stylistic singularity of the culture of the 16th-17th centuries. The emblem represented the principle of simultaneity, a picture with a brief motto coexisting with a didactic or spiritual text. Not only was the emblem an ornamental “insertion”, a piece of encrusted graphics, but it also reflected the Baroque principle of a witty game. A book of emblems could act as a visual dictionary of signified objects. The significance of finished emblems was not limited to their pictographical meanings, they could also include some symbolic senses. Such verbal pictures illustrating abstract notions can be found in the “Emblemata” (1531) by Andreas Alciatus. The synthesis of the verbal and the visual, as an allegorical way of defining the world and the exegesis of Biblical texts, provided wide opportunities for the emblematic signification. The Picta Poesis Baroque book “Graphical Poetry. Alchemy” (1552) by Barthélemy Aneau contained an alchemy symbolism reflecting the character of the Renaissance worldview. Dutch artists of the 17th century developed the theme of evanescence and vanity in their emblematic still-life painting.

scholarly journals Combined Micro- and Macro scale X-ray powder diffraction mapping of degraded Orpiment paint in a 17th century still life painting by Martinus Nellius

2019 ◽  
Vol 7 (1) ◽  
Author(s):  
Jonas Simoen ◽  
Steven De Meyer ◽  
Frederik Vanmeert ◽  
Nouchka de Keyser ◽  
Ermanno Avranovich ◽  
...  
Keyword(s):  
Powder Diffraction ◽  
Degradation Products ◽  
Paint Layer ◽  
17Th Century ◽  
Original Material ◽  
Still Life ◽  
X Ray ◽  
Macro Scale ◽  
Dutch Painter ◽  
Still Life Painting

Abstract The spontaneous chemical alteration of artists’ pigment materials may be caused by several degradation processes. Some of these are well known while others are still in need of more detailed investigation and documentation. These changes often become apparent as color modifications, either caused by a change in the oxidation state in the original material or the formation of degradation products or salts, via simple or more complex, multistep reactions. Arsenic-based pigments such as orpiment (As2S3) or realgar (α-As4S4) are prone to such alterations and are often described as easily oxidizing upon exposure to light. Macroscopic X-ray powder diffraction (MA-XRPD) imaging on a sub area of a still life painting by the 17th century Dutch painter Martinus Nellius was employed in combination with microscopic (μ-) XRPD imaging of a paint cross section taken in the area imaged by MA-XRPD. In this way, the in situ formation of secondary metal arsenate and sulfate species and their migration through the paint layer stack they originate from could be visualized. In the areas originally painted with orpiment, it could be shown that several secondary minerals such as schultenite (PbHAsO4), mimetite (Pb5(AsO4)3Cl), palmierite (K2Pb(SO4)2) and syngenite (K2Ca(SO4)2∙H2O) have formed. Closer inspection of the cross-sectioned paint layer stack with μ-XRPD illustrates that the arsenate minerals schultenite and mimetite have precipitated at the interface between the orpiment layer and the layer below that is rich in lead white, i.e. close to the depth of formation of the arsenate ions. The sulfate palmierite has mostly precipitated at the surface and upper layers of the painting.

Reality in History

Philosophy ◽  
1931 ◽  
Vol 6 (24) ◽  
pp. 472-484
Author(s):  
Hilda D. Oakeley
Keyword(s):  
Present Article ◽  
Practical Experience ◽  
The Other ◽  
Philosophical Interpretation ◽  
The One ◽  
New Phase ◽  
Speculative Thought

The treatment of history by philosophers seems to have entered upon a new phase, as regards the questions both what kind of knowledge we are dealing with and what is the relation of the historic experience to reality. As Professor Guido de Ruggiero pointed out in the April number of the Journal, this interest in the problems of history has not received much recognition in English thought at present. It is the purpose of the argument of the present article to maintain that whilst there are two methods of approach to reality, the one through knowledge and speculative thought, the other through history and practical experience, a philosophical interpretation is necessary to the understanding of history, though philosophies of history as usually conceived are not possible. The dualism of experience to which reference is here made is not identical with the dualism with which Professor de Ruggiero is concerned.

Official Ceremonies Aesthetics in Moscow Russia

2021 ◽  
Vol 64 ◽  
pp. 89-96
Author(s):  
Galina V. Talina
Keyword(s):  
17Th Century ◽  
The Other ◽  
Royal Court ◽  
Other Hand ◽  
The One ◽  
Concept Of Beauty ◽  
The Trinity

On the basis of the 17th century documents the author of the article reveals th concept of “beauty” through the prism of the ideas shaped in Moscow Russia on the whole and in the period of the reign of the first Romanovs, in particular. The concepts of “measure” and “order” characterized the beautiful, on the one hand, and on the other hand, – the necessity to build any action in compliance with the previously formulated sample objectified in the text. The most vivid manifestations of those instructions were the official ceremonies of Moscow royal court, among which especially stood out such ceremonies as coronation, announcement to the subjects of the heir to the throne, cross processions. Special attention in the article is paid to the innovations to the ceremonial sphere, the author shows the continuity in ceremony organization with enough creative freedom for the organizers. Moscow ceremony is shown as the trinity of action, word and symbolism.

Féminisation linguistique et écriture inclusive: de quelques nouvelles formes langagières du français

2021 ◽  
Vol 9788879169776 ◽  
pp. 71-88
Author(s):  
Françoise Sullet-Nylander
Keyword(s):  
17Th Century ◽  
French Language ◽  
Inclusive Language ◽  
The Subject ◽  
The One

From the 17th century to the present day, the French language has often been the subject of controversies relating to the development of its grammar or its lexicon. The one we are interested in in this article is relatively recent – at least it has expanded in recent years, in the wake of the MeToo movement, in 2017. In France, recent studies on the subject testify to the interest shown in the question, but also to the profound differences regarding the functions of these “new” language forms. The evolution of society is expressed in language, and conversely the language register the transformations of society. Drawing on the reflections of Alpheratz (2018), Cerquiglini (2018) and Viennot (2018), we will first present the different stages of these transformations of the French language, the moments of “tension” around the issue of gender in language, as well as the “principles” of inclusive language. Then, from a corpus of around 200 university emails, we will analyze some of these new language forms in use in this textual genre.

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