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- W2248281316 abstract "The display of art was central to the Antwerp-invented genre of the painted Collector’s Cabinet. These paintings are essentially a ‘display of display’: an idealized immortalization of Antwerp’s collections. These spectacles of objects ranging from art and artifacts to naturalia, exotica and scientific instruments have puzzled many, and since Filipczak, plenty of interpretations were proposed. In this paper, the ‘display of display’ of these Collector’s Cabinets is studied in light of the counterreformation views on the use of objects and images – i.e. in the aftermath of the iconoclastic furies of the late sixteenth century. The Franckens for instance played a seminal role in the invention of the genre and depicted collector’s cabinets in association with iconoclastic donkeys. Iconoclastic ignorance was not only considered to be the enemy of religious art, but also of profane collections of objects of art and knowledge. In their paintings, in particular in their ‘display of display’, the Franckens positioned themselves as ‘defenders of the image’. Analogue to Anthony Grafton’s ‘defenders of the text’ – the humanists who excelled in the textual humanist tradition in the age of the ‘new sciences’ – the painted Collector’s Cabinet with Iconoclasts can be considered as a ‘defense of the image’ in a time when visual scientific knowledge and artistic imagery were at the forefront of intellectual debate. Indeed, imperative to the Collector’s Cabinets with Iconoclasts was the counterreformation notion that knowledge (of God and Nature) could be transferred through the display of images and objects." @default.
- W2248281316 created "2016-06-24" @default.
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- W2248281316 date "2014-01-01" @default.
- W2248281316 modified "2023-09-23" @default.
- W2248281316 title "Materiality and transformation: painters' collections in early seventeenth-century Antwerp" @default.
- W2248281316 hasPublicationYear "2014" @default.
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