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French painting of Louis XV's reign (1715-74), generally categorized by the term rococo, has typically been understood as an artistic style aimed at furnishing courtly society with delightful images of its own frivolous pursuits. Instead, this book shows the significance and seriousness underpinning the notion of pleasure embedded in eighteenth-century history painting. During this time, pleasure became a moral ideal grounded not only in domestic life but also defining a range of social, political, and cultural transactions oriented toward transforming and improving society at large.History, painting, and the seriousness of pleasure in the age of Louis XV reconsiders the role of history painting in creating a new visual language that presented peace and happiness as an individual's natural rights in the aftermath of Louis XIV's bellicose reign (1643-1715). In this new study, Susanna Caviglia reinvestigates the artistic practices of an entire generation of painters born around 1700 (e.g. Francois Boucher, Charles-Joseph Natoire, and Carle Vanloo) in order to highlight the cultural forces at work within their now iconic images.

Pleasure in art. --- Art, Baroque. --- Art, Rococo. --- Civilization, Western --- History, Modern --- Enlightenment. --- Enlightenment --- Philosophy. --- Louis --- France --- Europe --- History. --- Rococo painting --- drawing --- pleasure --- Louis XV --- enlightenment

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The essays collected in this volume are devoted to the Utrecht painter Abraham Bloemaert. The artist has received considerable scholarly attention following the publication of the catalogue raisonné of his paintings and, more recently, of his drawings, particularly in connection with the major exhibition The Bloemaert Effect (2012, Utrecht & Schwerin). This publication examines Abraham Bloemaert as a universal artist while it also aims to better understand his contribution towards the development of new iconographic themes. The choice and execution of specific subjects are considered in light of the local religious context, among others. In order to offer new perspectives and stimulate further research, the volume carefully examines the role of his workshop and the various artistic practices – painting, engraving, and drawing – in which its members engaged under Bloemaert’s supervision. A key question ties together the multifaceted approaches presented here: should Bloemaert be considered as the ‘father of the Utrecht school’ and the founder of a dynasty of artists?

Painting --- workshops [organizations] --- influence --- Bloemaert, Abraham --- Art, Dutch --- Painting, Dutch --- History and criticism --- Bloemaert, Abraham, --- Criticism and interpretation. --- Dutch painting --- Dutch art --- Nieuwe Ploeg (Group of artists) --- Ploeg (Group of artists) --- Blomart, A. --- Blomart, Abraham, --- Painters --- Graphic arts & prints* --- Low Countries (c. 1501-1800) --- Baroque & Rococo painting --- Engraving, Dutch --- Drawing, Dutch --- Artists' studios --- Utrechtse school

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This volume embraces the complex and often messy reality of pictorial genres in seventeenth-century Dutch art, by examining how they were defined by artists, theorists, audiences and art historians, how they were part of artistic practices and developed within a specific societal and economic context. Church interiors, cortegaerdjes,scenes of everyday life, tronies, landscapes, spoockerijen, group portraits, bambocciate, hunting scenes, history paintings, sottoboschi, still lives and many other subjects: the wide variety of pictorial genres and sub-genres in which Dutch artists specialized is a key component in our perception of Dutch seventeenth-century art. Yet the epistemological framework constituted by genre definitions, conventions and hierarchies is far from self-evident, nor does it necessarily reflect how people in the seventeenth-century thought about artworks. In fact, art literature of the period is largely silent on these matters and artists do not appear to have followed an established set of principles. This volume examines the way pictorial genres can be, and have been, defined by artists, theorists, audiences and art historians; how individual artists conceived the subject matter of their artworks; and how society and the art market contributed to the development of certain subjects. As such, it embraces the complex and often messy reality of pictorial genres in seventeenth-century Dutch art.

Peinture --- Art --- Esthétique --- Terminologie --- Aesthetics of art --- Painting --- History of the Netherlands --- genre [visual works] --- anno 1600-1699 --- Art and society. --- Art néerlandais --- Art, Dutch --- Art, Dutch. --- Genre painting, Dutch --- Genre painting, Dutch. --- Painting, Dutch. --- Prints, Dutch --- Prints, Dutch. --- 1600-1699. --- Esthétique --- Terminologie. --- Painting, Dutch --- Portrait painting, Dutch --- Peinture néerlandaise --- Catégorisation (psychologie) --- Diversité culturelle --- Painters --- Theory of art --- Low Countries (c. 1501-1800) --- Baroque & Rococo painting --- genre pictures --- Hollandse school --- genre, Nederlanden