The Look of Van Dyck: The Self-Portrait With a Sunflower And the Vision of the Painter (Histories of Vision) (Histories of Vision) John Peacock

ISBN: 9780754607199

Published: December 22nd 2006

Hardcover

300 pages


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The Look of Van Dyck: The Self-Portrait With a Sunflower And the Vision of the Painter (Histories of Vision) (Histories of Vision)  by  John Peacock

The Look of Van Dyck: The Self-Portrait With a Sunflower And the Vision of the Painter (Histories of Vision) (Histories of Vision) by John Peacock
December 22nd 2006 | Hardcover | PDF, EPUB, FB2, DjVu, AUDIO, mp3, ZIP | 300 pages | ISBN: 9780754607199 | 4.40 Mb

Based on a close study of Van Dycks Self-portrait with a Sunflower, this book examines the pictures context in the symbolic discourses of the period and in the artists oeuvre. The portrait is interpreted as a programmatic statement, made in theMoreBased on a close study of Van Dycks Self-portrait with a Sunflower, this book examines the pictures context in the symbolic discourses of the period and in the artists oeuvre. The portrait is interpreted as a programmatic statement, made in the ambience of the Caroline court after Van Dycks appointment as Principal Painter, of his view of the art of painting.

This statement, formulated in appropriately visual terms, characterises painting as a way of looking and seeing, a mode of vision. In making such a claim, the artist steps aside from the familiar debate about whether painting was a manual or an intellectual discipline, and moves beyond any idea of it as simply a means of representing the external world: the painters definitive faculty of vision can reach further than those realities which present themselves to the eye.

John Peacock analyses the motif of looking - the ways in which figures regard or disregard each other - throughout Van Dycks work, and the images of the sunflower and the gold chain in this particular portrait, to reveal what is essentially an idealist conception of pictorial art. He contradicts previous opinions that the artist was pedestrian in his thinking, by showing him to be familiar with a range of ideas current in contemporary Europe about painting and the role of the painter.



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