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000351162 010__ $$a  2010041137
000351162 020__ $$a9780823233137 (alk. paper)
000351162 020__ $$a0823233138 (alk. paper)
000351162 035__ $$a(OCoLC)ocn630467998
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000351162 05000 $$aND1393.N43$$bB46 2011
000351162 08200 $$a758/.40949209032$$222
000351162 1001_ $$aBerger, Harry,$$cJr.,$$d1924-
000351162 24510 $$aCaterpillage :$$breflections on seventeenth century Dutch still life painting /$$cHarry Berger, Jr.
000351162 24630 $$aReflections on seventeenth century Dutch still life painting
000351162 250__ $$a1st ed.
000351162 260__ $$aNew York :$$bFordham University Press,$$c2011.
000351162 300__ $$axiv, 116 p., [8] p. of plates :$$bill. (some col.) ;$$c24 cm.
000351162 504__ $$aIncludes bibliographical references and index.
000351162 5050_ $$aPrologue -- 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.
000351162 520__ $$aCaterpillage is a study of seventeenth-century Dutch still-life painting. It develops an interpretive approach based on the author's previous studies of portraiture, and its goal is to offer its readers a new way to think and talk about the genre of still life. --
000351162 520__ $$aThe book begins with a critique of iconographic discourse and particularly of iconography's treatment of vanitas symbolism. It goes on to argue that this treatment tends to divert attention from still life's darker meanings and from the true character of its traffic with death. Interpretations of still life that focus on the vanity of human experience and the mutability of life minimize the impact made by the representation of such voracious pillagers of plant life as insects, snails, and caterpillars. The message sent by still life's preoccupation with these small-scale predators is not merely vanitas. --
000351162 520__ $$aIt is rapacitas. Caterpillage also explores the impact of this message on the meaning of the genre's French name. We use the conventional term nature morte ("dead nature") without giving any thought to how misleading it is. Because so many portraits of still in bloom, are dying, it would be more accurate to name the genre nature mourant. The subjects of still life are plants that are still living, plants that are dying but not yet dead. --Book Jacket.
000351162 650_0 $$aStill-life painting, Dutch$$y17th century.
000351162 650_0 $$aDeath in art.
000351162 85200 $$bgen$$hND1393.N43$$iB46$$i2011
000351162 909CO $$ooai:library.usi.edu:351162$$pGLOBAL_SET
000351162 980__ $$aBIB
000351162 980__ $$aBOOK