Jan Blanc

This volume critically (re-)examines the key building blocks of the construct of the Dutch Golden Age, their origins, the numerous and diverse purposes they have served and their long-lasting cultural and historiographical impact. For a long time, the Dutch Golden Age has been regarded as a historiographical construction or reconstruction dating from the second half of the nineteenth century, when the rise of nationalist and even racialist histories and art histories was intended to promote the principle of a Dutch cultural identity, visible and analysable beyond the vicissitudes of time. This volume shows how the notion of the 'Golden Age', built on the ancient notion of aetas aurea, was constructed by the Dutch and for the Dutch, at the end of the sixteenth century, first to try to justify the theoretically questionable revolt of the Northern Netherlands against Spanish rule, and then to give shape to the new state and the new society created. However, we will see that there is not one but several possible definitions of this Golden Age, and consequently that it cannot be confined to one conception, so that it would be preferable to speak of a multitude of Dutch Golden Ages.

The Shaping of a Cultural Community

Dutch Golden Age(s)

Blaise Ducos

Lara Yeager-Crasselt

Olivia Savatier Sjöholm

يقدم كتالوج "رامبرانت وفيرمير والعصر الذهبي الهولندي" لمحة عامة عن جميع الأعمال الفنية في المعرض الذي يقام في اللوفر أبوظبي. فإلى جانب صور اللوحات الفنية المعروضة، يتضمن الكتاب أربعة مقالات علمية، تضع الأولى "مجموعة ليدن" في سياق العصر الذهبي الهولندي. وتسلط الثانية والثالثة الضوء على الدور الرئيسي الذي لعبته هولندا في العالم في القرن السابع عشر، والخصائص المميزة للعصر الذهبي الهولندي، فضلاً عن أعمال رامبرانت ومعاصريه في المجتمع الهولندي في ذلك الوقت. أما المقال الرابع، فيبرز الدور الخاص الذي لعبه الرسم في العملية الإبداعية لدى الفنانين الهولنديين

رامبرانت وفيرمير والعصر الذهبي الهولندي

Accompanying the exhibition at Louvre Abu Dhabi, the catalogue Rembrandt, Vermeer and the Dutch Golden Age provides an image-rich overview of the artworks exhibited, complimented by four essays. The first situates The Leiden Collection within the context of the Dutch Golden Age. The second and third describe the major role that the Netherlands played on a global scale in the in the 17th century, the specificities of the Dutch Golden Age as well as the work of Rembrandt and his contemporaries, rooted in the society of that time and place. The fourth essay sheds light on the particular role that drawing played in the creative process of Dutch artists.

Jan Blanc

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