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"Contrary to what Kant believed about the Dutch (and their visual culture) as "being of an orderly and diligent position" and thus having no feeling for the sublime, this book argues that the sublime played an important role in seventeenth-century Dutch visual culture. By looking at different visualizations of exceptional heights, divine presence, political grandeur, extreme violence, and extraordinary artifacts, the authors demonstrate how viewers were confronted with the sublime, which evoked in them a combination of contrasting feelings of awe and fear, attraction and repulsion. In studying seventeenth-century Dutch visual culture through the lens of notions of the sublime, we can move beyond the traditional and still widespread views on Dutch art as the ultimate representation of everyday life and the expression of a prosperous society in terms of calmness, neatness, and order. The book will be of interest to scholars working in art history, visual culture, architectural history, and cultural history"--

Architecture and society --- Art and society --- Sublime, The, in art. --- History --- Aesthetics --- Art --- Netherlandish --- Amsterdam, Stadhuis --- anno 1600-1699 --- History of civilization --- Sublime, the --- visual culture --- Netherlands

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Sublime, the --- spectators [event observers] --- Junius, Franciscus [jr.] --- Rubens, Peter Paul --- Rembrandt --- Longinus, Dionysius Cassius

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Longinus, Dionysius Cassius --- art theory --- Art --- Literature --- Pseudo-Longinus --- Sublime, The, in art --- Arts, Modern --- Themes, motives --- Longinus, --- Appreciation --- Modern arts --- Dionisio Longino, --- Longino, --- Longino, Dionisio, --- Longinos, --- Pseudo Longino, --- Pseudo-Longinos, --- Pseudo-Longinus, --- Λογγῖνος, --- Longinus, Cassius, --- Longinus, Cassius. --- Appreciation. --- Longinus --- Sublime, the --- Longinus, - active 1st century - On the sublime --- Longinus, - active 1st century --- Griekse literatuur --- receptiegeschiedenis

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In this fascinating study Marie Tanner examines the ways in which Titian incorporates new concepts of sensuality and spirituality in the mythological paintings for King Philip II of Spain. The paintings for Philip II, known as the Poesie, are among the most frequently discussed works of art that address a favored Renaissance theme, the influence of the pagan gods on human actions. The commission is traceable to 1549, when Emperor Charles V summoned the artist to Augsburg following Prince Philip’s triumphal parade through the empire as his father’s heir apparent. The cycle that took shape comprises Danae and Venus and Adonis (Madrid, Prado); Diana and Actaeon and Diana and Callisto (Edinburgh, National Gallery of Scotland); Perseus and Andromeda (London, Wallace Collection) and Europa (Boston, Isabella Stewart Gardner Museum). These masterpieces of the artist’s mature period can be considered the most important Renaissance grouping of mythological paintings executed by a single artist. The author proposes that Philip’s expected elevation prompted the commission and that the subjects form a cohesive program of Hapsburg ethical views and political concerns, and that Titian created new visual idioms to represent the complex issues which the subjects address in part by engaging themes with a significant prior history in family patronage. While Titian's Poesie for Philip II are well known monuments of western culture, they have never before been investigated with this focus. The dispersal of the pictures' in the seventeenth century resulted in a scholarly focus on the single pictures and a concentration on their sensual aspects. In Aretino, a Venetian dialogue on painting, Titian’s friend and apologist Lodovico Dolce is a spokesman for art that following poetry, entices through beauty, while hiding important truths beneath the veil of allegory. This study analyzes the ways in which Titian incorporates new concepts of sensuality and spirituality in a Venetian vernacular to create masterpieces whose originality and ravishing beauty belie their didactic content.

mythology [literary genre] --- easel paintings [paintings by form] --- Philip II [King of Spain] --- Titian --- Titian, --- Painting --- legendary beings --- Charles V [Holy Roman emperor] --- Allegories --- Symbolism in art --- Allegory (Art) --- Signs and symbols in art --- Art --- Exempla --- Fiction --- Homiletical illustrations --- Tales --- Fables --- Parables --- Philip --- Filips --- Felipe --- Filipe --- Philippe --- Filippe --- Philips --- Fīlīb --- Philipp --- Filippo --- Ticijan, --- Titiano Vecellio, --- Titianus, --- Titien, --- Tit︠s︡ian, --- Tizian, --- Tiziano, --- Tiziano Vecelli, --- Tycjan, --- Vecelli, Tiziano, --- Vecellio, Tiziano, --- Vechellio, Tit︠s︡iano, --- Art patronage. --- Art, Italian --- Allegories. --- Symbolism in art. --- Titiaan --- Titien --- Tizian --- di Gregorio Vecellio, Tiziano --- Sublime, the --- Titian, - approximately 1488-1576