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The booklet addresses the debates on Rembrandt, Metsu, Vermeer, and Hoogstraten which are presently happening in paintings heritage and cultural reviews. those concentration normally at the illustration of gender distinction, the connection among textual content and photograph, and the emotional discourse. also they are an allure for paintings background as a sort of cultural reviews that analyses the semantic strength of artwork inside of discursive and social modern practices.
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Extra info for The Visible and the Invisible (Edition Angewandte)
Sample text
Mr. and Mrs. Cooney The letter is part of the iconography of message transmission and thus of an action-oriented context. In medieval visual narration, we usually have a chronological sequence of events. This was also the case in the miniatures of the Bibles Moralisées, which first introduce David watching the beautiful Bathsheba taking a bath and then the messenger bringing Bathsheba to the king. In painting after the Renaissance, which sought to unite space and time in linear perspective, both scenes are often depicted together: we see Bathsheba taking a bath while a matchmaker or messenger hands her a letter and David’s palace is seen in the background.
David sends him back to war with a letter to his superior, ordering to send Uriah to the front line and thus to his death. Uriah dies. After the required mourning period has passed, David makes Bathsheba his wife. All we find out about Bathsheba is that she mourned her husband’s death. God punishes David by letting their son born out of wedlock die. 7 During the Early Middle Ages, the story illustrated the need for repentance and promoted the introduction of confessions. As a visual tradition we most often encounter this story as an illustration of the penitential psalm 51, in which David repents in reaction to Nathan’s reproof.
3: Cornelis Cornelisz. 15 The motif of the bathing woman with a kneeling female servant washing her feet has a long tradition. Based on antique sources, it can be traced back to medieval illuminations such as the Psalter of Saint Louis from the 13th century, and to the German masters of the 15th century, Lucas Cranach and Albrecht Altdorfer. Dutch artists like Maarten van Heemskerck or Rembrandt’s teacher Pieter Lastman also made use of the motif. In its radical reduction to female nude and the foot-washing servant, Rembrandt’s image shows remarkable proximity to a few drawings by Elsheimer (fig.