001477835 000__ 06120nam\a22008295i\4500 001477835 001__ 1477835 001477835 003__ DE-B1597 001477835 005__ 20231026034831.0 001477835 006__ m\\\\\o\\d\\\\\\\\ 001477835 007__ cr\un\nnnunnun 001477835 008__ 230103t20222006nyu\\\\\o\\d\z\\\\\\eng\d 001477835 020__ $$a9780823292127 001477835 0247_ $$a10.1515/9780823292127$$2doi 001477835 035__ $$a(DE-B1597)565928 001477835 035__ $$a(OCoLC)1306540141 001477835 040__ $$aDE-B1597$$beng$$cDE-B1597$$erda 001477835 0410_ $$aeng 001477835 044__ $$anyu$$cUS-NY 001477835 072_7 $$aART015030$$2bisacsh 001477835 1001_ $$aBerger, Harry, $$eauthor.$$4aut$$4http://id.loc.gov/vocabulary/relators/aut 001477835 24510 $$aManhood, Marriage, and Mischief :$$bRembrandt's 'Night Watch' and Other Dutch Group Portraits /$$cHarry Berger. 001477835 264_1 $$aNew York, NY : $$bFordham University Press, $$c[2022] 001477835 264_4 $$c©2006 001477835 300__ $$a1 online resource (192 p.) :$$b42 color and 58 black and white illustrations 001477835 336__ $$atext$$btxt$$2rdacontent 001477835 337__ $$acomputer$$bc$$2rdamedia 001477835 338__ $$aonline resource$$bcr$$2rdacarrier 001477835 347__ $$atext file$$bPDF$$2rda 001477835 50500 $$tFrontmatter -- $$tContents -- $$tIllustrations -- $$tPreface -- $$tIntroduction: A Shot in the Dark -- $$tPart One. Group portraits and the fictions of the pose -- $$t1 Toward the Interpretation of Performance Anxiety -- $$t2 Portraiture and the Fictions of the Pose -- $$t3 The Posographical Imperative: A Comparison of Genres -- $$t4 Group Portraiture: Coming Together and Coming Apart -- $$t5 Alois Riegl and the Posographical Imperative -- $$t6 Performance Anxiety and the Belated Viewer -- $$tPart Two. Militias and marriage -- $$t7 Male Bondage and the Military Imperative -- $$t8 Social Sources of Performance Anxiety -- $$tPart Three. Picturing family values -- $$t9 The Preacher's Wife -- $$t10 Women with Elbows -- $$t11 Families Making Music -- $$tPart Four 'The night watch' as homosocial pastoral -- $$t12 The Night Watch: How the Sandbank Crumbles -- $$t13 Evasive Action: Three Ways to Shore Up the Sandbank -- $$t14 Captain Cocq and the Unruly Musketeer -- $$t15 Disaggregation as Class Conflict -- $$t16 Manual Mischief: The Loneliness of the Red Musketeer -- $$t17 Between Stad and Stadholder: Captain Cocq's Dilemma -- $$t18 Posographical Misfires -- $$t19 An Odd Couple: The Ghost of Anslo's Wife -- $$tCoda: Playing Soldier -- $$tNotes -- $$tIndex 001477835 506__ $$aAccess limited to authorized users. 001477835 520__ $$aA study of the theory and practice of seventeenth-century Dutch group portraits, Manhood, Marriage, and Mischief offers an account of the genre's comic and ironic features, which it treats as comments on the social context of portrait sitters who are husbands and householders as well as members of civic and proto-military organizations. The introduction picks out anomalous touches with which Rembrandt problematizes standard group-portrait motifs in The Night Watch: a shooter who fires his musket into the company; two girls who appear to be moving through the company in the wrong direction; guardsmen who appear to be paying little or no attention to their leader's enthusiastic gesture of command. Were the patrons and sitters aware of or even complicit in staging the anomalies? If not, did the painter get away with a subversive parody of militia portrait conventions at the sitters' expense? Parts One and Two respond to these questions at several levels: first, by analyzing the aesthetic structure of group portraiture as a genre; second, by reviewing the conflicting accounts modern scholars give of the civic guard company as an institution; third, by marking the effect on civic guardsmen of a mercantile economy that relied heavily on wives and mothers to keep the homefires burning. Two phenomena persistently recur in the portraits under discussion: competitive posing and performance anxiety. Part Three studies these phenomena in portraits of married couples and families. Finally, Part Four examines them in The Night Watch in the light of the first three parts. The result is an interpretation that reads Rembrandt's painting both as a deliberate parody by the sitters and as the artist's covert parody of the sitters. 001477835 538__ $$aMode of access: Internet via World Wide Web. 001477835 546__ $$aIn English. 001477835 5880_ $$aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 03. Jan 2023) 001477835 650_7 $$aART / European.$$2bisacsh 001477835 655_0 $$aElectronic books 001477835 77308 $$iTitle is part of eBook package:$$dDe Gruyter$$tFordham University Press Complete eBook-Package Pre-2014$$z9783111189604 001477835 77308 $$iTitle is part of eBook package:$$dDe Gruyter$$tFordham University Press eBook-Package Backlist 2000-2013$$z9783110707298 001477835 7760_ $$cprint$$z9780823225576 001477835 852__ $$bebk 001477835 85640 $$3De Gruyter$$uhttps://univsouthin.idm.oclc.org/login?url=https://www.degruyter.com/isbn/9780823292127$$zOnline Access 001477835 909CO $$ooai:library.usi.edu:1477835$$pGLOBAL_SET 001477835 912__ $$a978-3-11-070729-8 Fordham University Press eBook-Package Backlist 2000-2013$$c2000$$d2013 001477835 912__ $$a978-3-11-118960-4 Fordham University Press Complete eBook-Package Pre-2014$$b2014 001477835 912__ $$aEBA_BACKALL 001477835 912__ $$aEBA_CL_AD 001477835 912__ $$aEBA_EBACKALL 001477835 912__ $$aEBA_EBKALL 001477835 912__ $$aEBA_ECL_AD 001477835 912__ $$aEBA_EEBKALL 001477835 912__ $$aEBA_ESSHALL 001477835 912__ $$aEBA_ESTMALL 001477835 912__ $$aEBA_PPALL 001477835 912__ $$aEBA_SSHALL 001477835 912__ $$aEBA_STMALL 001477835 912__ $$aGBV-deGruyter-alles 001477835 912__ $$aPDA11SSHE 001477835 912__ $$aPDA12STME 001477835 912__ $$aPDA13ENGE 001477835 912__ $$aPDA17SSHEE 001477835 912__ $$aPDA18STMEE 001477835 912__ $$aPDA5EBK 001477835 980__ $$aBIB 001477835 980__ $$aEBOOK 001477835 982__ $$aEbook 001477835 983__ $$aOnline