This article seeks to understand if and under which conditions the antique theories of the sublime could have been important in the artistic practice of the Dutch landscape painter Allart van Everdingen. His social and familial milieu was learned, yet nothing, in what we know of the culture of Allart van Everdingen, seems to indicate that the painter was able to have direct access to the primary or secondary sources on the sublime. Longinus or Lucretius probably did not mean anything for him. Surely Allart van Everdingen’s sublime culture was built on images more than on texts, whether these images were real (works of art that he was able to see and study) or imaginary (missing or ctitious works that he could have known through the artistic literature). Rather than of a sublime culture, moreover, it would be better to speak here of a sublime sensitivity, fueled not only by the arts but also by the everyday life of the seventeenth-century Dutch men and women who, faced with the sometimes dangerous spectacle of Nature, often used the categories of sublime rhetoric or literature to describe their life experiences. More than landscapes, Allart van Everdingen’s paintings are rst—and this remark could possibly be generalized to other Dutch painters of the Golden Age—personal and general experiences translated into images, which have been all the more powerful as they echoed categories and emotions largely shared by their beholders.
2Pellentesque1 habitant morbi tristique senectus et 3netus et malesuada fames ac turpis egestas. Vestibulum tortor quam, feugiat vitae, ultricies eget, tempor sit amet, ante. Donec eu libero sit amet quam egestas semper. Aenean ultricies mi vitae est. Mauris placerat eleifend leo.4 Quisque sit amet est et sapien ullamcorper pharetra. Vestibulum erat wisi, condimentum sed, commodo vitae, ornare sit amet, wisi. Aenean fermentum, elit eget tincidunt condimentum, eros ipsum rutrum orci, sagittis tempus lacus enim ac dui. Donec non enim in turpis pulvinar facilisis. Ut felis.5 Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Vestibulum tortor quam, feugiat vitae, ultricies eget, tempor sit amet, ante. Donec eu libero sit amet quam egestas semper. Aenean ultricies mi vitae est. Mauris placerat eleifend leo. Quisque sit amet est et sapien ullamcorper pharetra. Vestibulum erat wisi, condimentum sed, commodo vitae, ornare sit amet, wisi. Aenean fermentum, elit eget tincidunt condimentum, eros ipsum rutrum orci, sagittis tempus lacus enim ac dui. Donec non enim in turpis pulvinar facilisis. Ut felis.6
| Table 2: Paintings included in the inventories of Dammeroen, Doeck and Meijeringh divided by Genre Categories | ||||||
|---|---|---|---|---|---|---|
| Dammeroen (1646) | Doeck (1667) | Meijeringh (1687) | ||||
| number | % | number | % | number | % | |
| History* | 88 | 41% | 246 | 43% | 200 | 41% |
| Landscape | 30 | 14% | 166 | 29% | 156 | 32% |
| Marine | 7 | 3% | 47 | 8% | 37 | 8% |
| Still life | 17 | 8% | 33 | 6% | 10 | 2% |
| Pastoral | 15 | 7% | 35 | 6% | 1 | 0% |
| Genre | 7 | 3% | 19 | 3% | 22 | 5% |
| Portrait | 1 | 1% | 0 | 0% | 3 | 1% |
| Other | 11 | 5% | 16 | 3% | 18 | 4% |
| Unknown/unspecified | 37 | 17% | 14 | 2% | 41 | 8% |
| Total | 213 | 100% | 576 | 100% | 488 | 100% |
| Identified subjects | 83% | 98% | 92% | |||
| Identified artists | 0% | 49% | 52% | |||
| Source: SAA 5072, inv. no. 572, fol. 163–69, 21-09-1646; SAA 5075, inv. no. 2733, fol. 473–79, 13-07-1667; SAA 5075, inv. no. 2414, 20/25-06-1687. * The category “history” includes all textually based figure painting: paintings with subjects from the Bible, classical mythology, classical history, postclassical literature, and allegorical subjects. |
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Walter Liedtke, Dutch Paintings in the Metropolitan Museum of Art, 2 vols. (New York: Metropolitan Museum of Art/New Haven: Yale University Press, 2007); Leonard J. Slatkes and Wayne Franits, The Paintings of Hendrick ter Brugghen 1588-1629: Catalogue Raisonné (Amsterdam and Philadelphia: John Benjamins Publishing Company, 2007). http://dx.doi.org/10.1075/oculi.10
Venice, Italy 12.2014 [side-by-side viewer]
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