Schama explores the mysterious contradictions of the Dutch nation that invented itself from the ground up, attained an unprecedented level of affluence, and lived in constant dread of being corrupted by happiness. Drawing on a vast array of period documents and sumptuously reproduced art, Schama re-creates in precise detail a nation's mental state. He tells of bloody uprisings ...
Schama explores the mysterious contradictions of the Dutch nation that invented itself from the ground up, attained an unprecedented level of affluence, and lived in constant dread of being corrupted by happiness. Drawing on a vast array of period documents and sumptuously reproduced art, Schama re-creates in precise detail a nation's mental state. He tells of bloody uprisings and beached whales, of the cult of hygiene and the plague of tobacco, of thrifty housewives and profligate tulip-speculators. He tells us how the Dutch celebrated themselves and how they were slandered by their enemies.
"History on the grand scale...An ambitious portrait of one of the most remarkable episodes in modern history."--New York Times
"Wonderfully inclusive; with wit and intense curiosity he teases out meaning from every aspect of Dutch seventeenth-century life."--Robert Hughes
作者简介
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Simon Schama is University Professor of Art History and History at Columbia University in New York. His publications include Patriots and Liberators, The Embarrassment of Riches, Citizens, Dead Certainties, Landscape and Memory, and Rembrandt's Eyes.
"What other people", wrote the nineteenth-century critic-politician Théophile Thoré, "has written its history in its art?" Unlike the art of Renaissance Italy, Dutch art, he thought, was so much the record of the here and now, of "la vie vivante," anchored in a specific time and place. It was the record of "the men and the matter, the sentiments and habits, the deeds and gestures of a whole nation." And the quality of social document inherent in much of Dutch art does indeed make it an irresistible source for the cultural historian.
Treating art as a kind of historical evidence, though, has dangers for the unwary. Thoré also supposed it to be "a sort of photography of their great seventeenth century," a phrase that has been used time and again to suggest the kind of descriptive literalism... (查看原文)
Surprisingly, then, the Dutch art invites the cultural historian to probe below the surface of appearances. By illuminating an interior world as much as illustrating an exterior one, it moves back and forth between morals and matter, between the durable and the ephemeral, the concrete and the imaginary, in a way that was peculiarly Netherlandish...Thoré thought nature morte absurdly inappropriate a term for the heaps of fruit, flowers, or fishh that in some Dutch pictures sat carefully on white linen, on others tumbled over silver and glass. Still life was a misnomer, he wrote, for these things still live; they respire. Life in death; animation in immobility; the illusion of vitality and the reality of inertia: all these polarities seemed deliberately made to rebound off each other. Even a... (查看原文)
ly的读享生活
商务印书馆2022版
通艺
商务印书馆2022版
Fal Conde
商务印书馆2022版
7 有用 天然卷 ி 2011-04-25 16:20:16
我也想rich到embarrassed
3 有用 malingcat 2012-08-12 14:03:12
此书大好，怪不得那么多人引用。语言流畅，还带有那么多图版！关键是，卓越亚马逊就可以买到。
1 有用 张泡沫小姐 2014-02-16 10:42:54
读完两章已经喘不过气，语言和手法值得效仿，但是argument总觉得有漏洞
2 有用 鵬鵬 James 2013-01-07 11:00:19
新文化史寫作十七世紀荷蘭文化、藝術、風俗及市民中層世界觀的典範佳作，相見恨晚！
1 有用 鏘 2020-01-18 09:05:54
真是相见恨晚，语言优美、论证逻辑清晰的优秀scholarship。