Caterpillage reflections on seventeenth century Dutch still life painting /
I tiakina i:
| Kaituhi matua: | |
|---|---|
| Kaituhi rangatōpū: | |
| Hōputu: | Tāhiko īPukapuka |
| Reo: | Ingarihi |
| I whakaputaina: |
New York :
Fordham University Press,
2011.
|
| Putanga: | [1st ed.]. |
| Ngā marau: | |
| Urunga tuihono: | An electronic book accessible through the World Wide Web; click to view |
| Ngā Tūtohu: |
Tāpirihia he Tūtohu
Kāore He Tūtohu, Me noho koe te mea tuatahi ki te tūtohu i tēnei pūkete!
|
Rārangi ihirangi:
- Prologue
- Hyperreality and truthiness
- Reading Blake's "The Sick rose"
- Ethics versus technics in seventeenth-century Dutch still life
- Vanitas : the McGuffin of still life
- Still life, trade, and truthiness
- The pretext of occasion : Floris van Dijck's Laid table with cheese and fruit, c. 1615
- Nature mourant : the fictiveness of Dutch realism
- The embarrassment of niches : Christoffel van den Berghe's Vase of flowers in a stone niche, 1617
- Nature mourant : Bosschaert's Leaves, Merian's Caterpillars
- "Small-scale violence"
- The darker spirit : Van Huysum's heaps
- Posies : the bouquet as pretext of occasion
- Joris Hoefnagel and the roots of Dutch flower painting
- Conclusion. Allegorical capture and interpretive release.