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Manhood, Marriage, and Mischief : Rembrandt's 'Night Watch' and Other Dutch Group Portraits.

By: Material type: TextTextPublisher: US : Fordham University Press, 2006Copyright date: ©2006Edition: 1st edDescription: 1 online resource (292 pages)Content type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9780823248148
Subject(s): Genre/Form: Additional physical formats: Print version:: Manhood, Marriage, and MischiefDDC classification:
  • 757.0949209032
LOC classification:
  • ND1319.3 -- .B47 2007eb
Online resources:
Contents:
Title Page -- Table of Contents -- Preface -- Introduction: A Shot in the Dark -- Part 1: Group Portraits and the Fictions of the Pose -- Chapter 1: Toward the Interpretation of Performance Anxiety -- Chapter 2: Portraiture and the Fictions of the Pose -- Chapter 3: The Posographical Imperative: A Comparison of Genres -- Chapter 4: Group Portraiture: Coming Together and Coming Apart -- Chapter 5: Alois Riegl and the Posographical Imperative -- Chapter 6: Performance Anxiety and the Belated Viewer -- Part 2: Militias and Marriage -- Chapter 7: Male Bondage and the Military Imperative -- Chapter 8: Social Sources of Performance Anxiety -- Part 3: Picturing Family Values -- Chapter 9: The Preacher's Wife -- Chapter 10: Women with Elbows -- Chapter 11: Families Making Music -- Part 4: 'The Night Watch' as Homosocial Pastoral -- Chapter 12: The Night Watch: How the Sandbank Crumbles -- Chapter 13: Evasive Action: Three Ways to Shore Up the Sandbank -- Chapter 14: Captain Cocq and the Unruly Mustketeer -- Chapter 15: Disaggregation as Class Conflict -- Chapter 16: Manual Mischief: The Loneliness of the Red Musketeer -- Chapter 17: Between Stad and Stadholder: Captain Cocq's Dilemma -- Chapter 18: Posographical Misfires -- Chapter 19: An Odd Couple: The Ghost of Anslo's Wife -- Coda: Playing Soldier -- Notes -- Index.
Summary: This study of the theory and practice of seventeenth-century Dutch group portraits offers an account of the genre's comic and ironic features. It treats these features as comments on the social context of portrait sitters who are husbands and householders as well as members of civic and proto-military organizations. It culminates in a reading of Rembrandt's The Night Watch, which the author interprets, partly in generic terms, partly on more specific historical grounds, as both an expressly deliberate parody by the sitters and the artist's covert parody of the sitters.
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Title Page -- Table of Contents -- Preface -- Introduction: A Shot in the Dark -- Part 1: Group Portraits and the Fictions of the Pose -- Chapter 1: Toward the Interpretation of Performance Anxiety -- Chapter 2: Portraiture and the Fictions of the Pose -- Chapter 3: The Posographical Imperative: A Comparison of Genres -- Chapter 4: Group Portraiture: Coming Together and Coming Apart -- Chapter 5: Alois Riegl and the Posographical Imperative -- Chapter 6: Performance Anxiety and the Belated Viewer -- Part 2: Militias and Marriage -- Chapter 7: Male Bondage and the Military Imperative -- Chapter 8: Social Sources of Performance Anxiety -- Part 3: Picturing Family Values -- Chapter 9: The Preacher's Wife -- Chapter 10: Women with Elbows -- Chapter 11: Families Making Music -- Part 4: 'The Night Watch' as Homosocial Pastoral -- Chapter 12: The Night Watch: How the Sandbank Crumbles -- Chapter 13: Evasive Action: Three Ways to Shore Up the Sandbank -- Chapter 14: Captain Cocq and the Unruly Mustketeer -- Chapter 15: Disaggregation as Class Conflict -- Chapter 16: Manual Mischief: The Loneliness of the Red Musketeer -- Chapter 17: Between Stad and Stadholder: Captain Cocq's Dilemma -- Chapter 18: Posographical Misfires -- Chapter 19: An Odd Couple: The Ghost of Anslo's Wife -- Coda: Playing Soldier -- Notes -- Index.

This study of the theory and practice of seventeenth-century Dutch group portraits offers an account of the genre's comic and ironic features. It treats these features as comments on the social context of portrait sitters who are husbands and householders as well as members of civic and proto-military organizations. It culminates in a reading of Rembrandt's The Night Watch, which the author interprets, partly in generic terms, partly on more specific historical grounds, as both an expressly deliberate parody by the sitters and the artist's covert parody of the sitters.

Description based on publisher supplied metadata and other sources.

Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.

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