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Monuments End: Public Art and the Modern Republic [Kõva köide]

5.00/5 (4 hinnangut Goodreads-ist)
  • Formaat: Hardback, 280 pages, kõrgus x laius: 235x156 mm, 33 color + 88 b/w illus.
  • Ilmumisaeg: 15-Oct-2024
  • Kirjastus: Princeton University Press
  • ISBN-10: 0691238804
  • ISBN-13: 9780691238807
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Monuments End: Public Art and the Modern RepublicSuurem pilt
  • Formaat: Hardback, 280 pages, kõrgus x laius: 235x156 mm, 33 color + 88 b/w illus.
  • Ilmumisaeg: 15-Oct-2024
  • Kirjastus: Princeton University Press
  • ISBN-10: 0691238804
  • ISBN-13: 9780691238807
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Püsilink: https://www.kriso.ee/db/9780691238807.html
Märksõnad:
"An examination of monument-making in the Dutch Republic during the early modern period, during which this form first manifested and flourished"--

"How the founding of the Dutch Republic compelled artists and intellectuals of Rembrandt's time to pose enduring questions about the ways we commemorate our pastMonuments occupy a controversial place in nations founded on principles of freedom and self-governance. It is no accident that when we think of monuments, we think of statues modeled on legacies of conquest, domination, and violence. The Monument's End reveals how the artists, architects, poets, and scholars of the early modern Netherlands contended with the profound disconnect between the public monument and the ideals of republican government. Their experiences offer vital lessons about the making, reception, and destruction of monuments today.In the seventeenth century, the newly formed Dutch Republic dominated world trade and colonized vast overseas territories even as it sought to shed the trappings of its imperial past. Marisa Anne Bass describes the frustrated attempts by figures such as Rembrandt van Rijn and playwright and poet Joost vanden Vondel to reimagine public memory for their emergent nation. She shows how the most celebrated age of Dutch art was more an age of bronze than of gold, one in which the pursuit of freedom from domination was constantly challenged by the commercial ambitions of empire.Exploring how the artists and intellectuals of this vibrant century asked questions that still resonate today, this beautifully illustrated book discusses works by contemporary artists such as Spencer Finch and Thomas Hirschhorn and offers new perspectives on monuments like the 9/11 Memorial and Museum and events such as the Unite the Right rally in Charlottesville"--

How today’s questions surrounding monuments and the ways we commemorate our past first arose in Rembrandt’s time

Monuments occupy a controversial place in nations founded on principles of freedom and self-governance. It is no accident that when we think of monuments, we think of statues modeled on legacies of conquest, domination, and violence. The Monument’s End reveals how the artists, architects, poets, and scholars of the early modern Netherlands contended with the profound disconnect between the public monument and the ideals of republican government. Their experiences offer vital lessons about the making, reception, and destruction of monuments in the present.

In the seventeenth century, the newly formed Dutch Republic dominated world trade and colonized vast overseas territories even as it sought to shed the trappings of its imperial past. Marisa Anne Bass describes the frustrated attempts by figures such as Rembrandt van Rijn and playwright and poet Joost van den Vondel to reimagine public memory for their emergent nation. She shows how the most celebrated age of Dutch art was more an age of bronze than of gold, one in which the pursuit of freedom from domination was constantly challenged by the commercial ambitions of empire.

Exploring how the artists and intellectuals of this vibrant century asked questions that still resonate today, this beautifully illustrated book discusses works by contemporary artists such as Spencer Finch and Thomas Hirschhorn and offers new perspectives on monuments like the 9/11 Memorial and Museum and events such as the Unite the Right rally in Charlottesville.

Arvustused

"A fascinating study of how we think about monuments."---Mark Lynch, Inquiry "This is a lively, thoughtful, and illuminating examination of the varied purposes and effects of monuments that commemorate people and events. . . . The wide-ranging consideration of the elusive permanence and changing reception of commemorative practice and imagery gives this study a broad appeal and extends well beyond the Netherlands." * Choice * "The book helps grapple with why, in the end, and especially as art, monuments usually fail.

" * ARLIS/NA Reviews * "This is the kind of omnivorous scholarship that is much needed but too rarely practiced, linking monument debates across continents and time."---Samuel Holleran, Fabrications "From the abhorrence of Alba to the veneration of colonial violence, The Monuments End explores affective terrain that is rarely studied in histories of Dutch art: how hatred can be a driver of artistic production and reception."---Angela Vanhaelen, Historians of Netherlandish Art Reviews "[ A] compelling . . . reconsideration of monumentality as something other than a question of objects. . . . [ The Monuments End] pushes against a sturdy historical portrait of the Dutch Aesthetic as staidly humble, averse to excess. . . . [ and] turns away from painting to rarely seen drawings, texts, medals, engravings, escutcheons entablatures, paintings, tombs, and more. This material is brilliantly obscure. . . . [ The text] reminds us [ that] monuments never sustain as pure things, and this sustenance has a history. The operative mode for the monument today can no longer be sincerity, functioning seamlessly within any poetics of officialdom, academic or bureaucratic. The only monumentality which might matter today is a monumentality which resists."---Christopher P. Heuer, The Art Bulletin "A significant study. . . . [ The Monuments End is] a beautiful book that brings words and images together in important ways. Bass is perceptive and uses her skills as an art historian to explore matters with implications beyond monuments to wider artistic, literary, and cultural vistas."---Jonathan Locke Hart, Renaissance and Reformation

Marisa Anne Bass is professor of the history of art at Yale University. She is the author of Insect Artifice: Nature and Art in the Dutch Revolt and Jan Gossart and the Invention of Netherlandish Antiquity and the coauthor of Conchophilia: Shells, Art, and Curiosity in Early Modern Europe (all Princeton).