» The Rhetoric of Perspective: Realism and Illusionism in Seventeenth-Century Dutch Still-Life Painting

The Rhetoric of Perspective: Realism and Illusionism in Seventeenth-Century Dutch Still-Life Painting
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Rating: 4.5 / 5.00 (3 reviews)


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Manufacturer: University Of Chicago Press

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The Rhetoric of Perspective: Realism and Illusionism in Seventeenth-Century Dutch Still-Life Painting Details

Binding: Paperback
Dewey Decimal Number: 758.40949209032
EAN: 9780226309705
ISBN: 0226309703
Label: University Of Chicago Press
Manufacturer: University Of Chicago Press
Number Of Items: 1
Number Of Pages: 246
Publication Date: 2006-12-31
Publisher: University Of Chicago Press
Studio: University Of Chicago Press


The Rhetoric of Perspective: Realism and Illusionism in Seventeenth-Century Dutch Still-Life Painting Reviews

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Summary: A Book Worth Reading for Serious Painters
Comment: This is not a book for light beach reading, but it is a book worth reading for anyone interested in painting in general or still life specifically or Dutch still life very specifically. Actually, I quoted it in my M.F.A. thesis. Put simply, the author discusses painting as a way of thinking and 3-dimensional perspective (or the lack thereof by extrapolation, I suppose) an expression of painting as a way of thinking--all placed in the context of Dutch Still Life. That was worth the price of the book to me. As a painter, this idea led me to deeper exploration of the connection between my ideas and the vehicles I choose to present my ideas; i.e., oil paint, linen, brushes, 3-D modeling, color schemes, etc.

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Summary: Insights for Still-Life Painters
Comment: As a painter of still-life, I purchased the book for obvious reasons. The text is for a more academic audience; this is not a light read. Some familiarity with post-modern analysis is helpful. Fortunately the writing is not too dense. As an artist I was able to gain some insights into how some intellectuals would interpret my own work and to a lesser extent made me aware of some of my own unchallenged assumptions.

Customer Rating: Average rating of 4/5Average rating of 4/5Average rating of 4/5Average rating of 4/5Average rating of 4/5
Summary: Interesting, Synthetic text
Comment: Grootenboer takes a fresh and captivating look at Dutch Still Life and its philosophical implications, touching on many fields and ways of seeing. This book is dense, yet Grootenboer's voice leads the reader through its density towards a whole new way of experiencing this specific, fascinating genre. I was excited to read someone appropriately synthesizing postmodern theories and ideals into a new way of looking at Dutch art, which in my opinion lends itself perfectly to these heady ponderings. Buy the book and more importantly read it, like the great artworks it discusses, Rhetoric of Perspective may change your overall "perspective."


Editorial Review for The Rhetoric of Perspective: Realism and Illusionism in Seventeenth-Century Dutch Still-Life Painting:

Perspective determines how we, as viewers, perceive painting. We can convince ourselves that a painting of a bowl of fruit or a man in a room appears to be real by the way these objects are rendered. Likewise, the trick of perspective can prevent us from being absorbed in a scene. Connecting contemporary critical theory with close readings of seventeenth-century Dutch visual culture, The Rhetoric of Perspective puts forth the claim that painting is a form of thinking and that perspective functions as the language of the image.

Aided by a stunning full-color gallery, Hanneke Grootenboer proposes a new theory of perspective based on the phenomenological aspects of non-narrative still-life, trompe l'oeil, and anamorphic imagery. Drawing on playful and mesmerizing baroque images, Grootenboer characterizes what she calls their "sophisticated deceit," asserting that painting is more about visual representation than about its supposed objects.

Offering an original theory of perspective's impact on pictorial representation, the act of looking, and the understanding of truth in painting, Grootenboer shows how these paintings both question the status of representation and explore the limits and credibility of perception.

 “An elegant and honourable synthesis.”—Keith Miller, Times Literary Supplement





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