By Thijs Weststeijn
Samuel van Hoogstraten was once not just one among Rembrandt’s so much profitable scholars but in addition a flexible painter in his personal correct. His experiments in optical phantasm additionally attracted the curiosity of the traditional scientists of his time, and he wrote a number of the first Dutch novels, performs, and a treatise on portray. This wealthy interdisciplinary learn examines how van Hoogstraten understood the connection among paintings, literature, and technology and the way those mirrored the overall perspectives of his time. Bringing to the fore hitherto unknown works, the publication is a crucial contribution to our figuring out of van Hoogstraten’s existence and paintings.
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Extra resources for The Universal Art of Samuel van Hoogstraten (1627-1678) Painter, Writer, and Courtier
Maer om deze vraege, of de konst grooter baet van de natuur, of van de leeringe heeft, te beantwoorden, 4 zoo is te weten : dat de natuur zonder de leeringe veel vermach : en dat in tegendeel, de leeringe zonder eenige hulpe van de natuur, ydel en te vergeefs is. Maer wanneer middelmatige gaven der natuure door leeringe geholpen worden, zoo schijnt de natuur zich te beteren, en geeft meer uit, als’t verstand begrijpt : … Dit zelve verschil wort ook gedongen onder de naemen van Theory en practijk.
His conception of the theory of art is certainly intelligent and refined, but it is not a merely intellectual project. 64 It is true that in his own engraved self-portrait Van Hoogstraten does not depict himself explicitly as a painter [Fig. 7]. Yet the pen he holds is an ambiguous sign – a tool for writing and for drawing. He signs and dates the sheet of paper in front of him in the same manner as he signed and dated some of his letter-rack and perspective paintings, as if he were not writing his book, but instead drawing it.
13 Van Hoogstraten’s remark on the ‘toehoorderen van allerleye staeten’, Inleyding 183, may also refer to the listeners’ emotions (mental rather than geographical states). 14 A. Houbraken, De groote schouburgh der Nederlantsche konstschilders en schilderessen, 3 vols, Amsterdam 17181721, vol. I, 272. P. Lomazzo, ‘Trattato dell’arte della pittura, scoltura et architettura’, in: P. ), Scritti d’arte del Cinquecento, Milan 1971-1977, Vol. III, 2505-6. Zuccari condemns the genre paintings introduced by Pieter van Laer and other Dutchmen in Rome because they only incite laughter: ‘alcuni pittori di buon mercato, che imbrattano le mura e le tele facendo scartafoni e bamboci che muovono a riso i riguardanti per gli atti e per le lor forme sgarbate’, F.