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Saenredam's Space

Saenredam's Space 116 WALTER A. LIEDTKE Saenredam's Space* MODERN art history has increasingly revealed the influence of contemporary art on our examination of past artistsl. Aware of the necessity, the limitations, and the uneven results of this phenomenon, one might cautiously approach the formal analysis of a Dutch 'realist' with both enthusiasm and reserva- tions. This study limits itself to Pieter Saenredam's handling of pictorial space, which, although the single most important concern of this artist, is only one aspect of his rich formal vocabulary and his observation of the Dutch scene. Thus the present thoughts are offered as at best an introduction to future research on the complex and subtle art of Saenredam2, and perhaps that of some contemporary painters as well. Until recently, Saenredam scholarship has emphasized his departure from the traditional preoccu- pations of architectural painters with artificial perspective and imaginary architecture3. Saenredam was concerned exclusively with 'portraits' of existing church interiors, and his use of artificial perspective became, it seems implied, simply one of the means to that objective end. P. T. A. Swillens' essay in the catalogue of the 1961 exhibition at the Centraal Museum, Utrecht4, for example, represents the popu- lar analysis of Saenredam's http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Oud Holland - Quarterly for Dutch Art History Brill

Saenredam's Space

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Publisher
Brill
Copyright
Copyright © Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0030-672x
eISSN
1875-0176
DOI
10.1163/187501771X00094
Publisher site
See Article on Publisher Site

Abstract

116 WALTER A. LIEDTKE Saenredam's Space* MODERN art history has increasingly revealed the influence of contemporary art on our examination of past artistsl. Aware of the necessity, the limitations, and the uneven results of this phenomenon, one might cautiously approach the formal analysis of a Dutch 'realist' with both enthusiasm and reserva- tions. This study limits itself to Pieter Saenredam's handling of pictorial space, which, although the single most important concern of this artist, is only one aspect of his rich formal vocabulary and his observation of the Dutch scene. Thus the present thoughts are offered as at best an introduction to future research on the complex and subtle art of Saenredam2, and perhaps that of some contemporary painters as well. Until recently, Saenredam scholarship has emphasized his departure from the traditional preoccu- pations of architectural painters with artificial perspective and imaginary architecture3. Saenredam was concerned exclusively with 'portraits' of existing church interiors, and his use of artificial perspective became, it seems implied, simply one of the means to that objective end. P. T. A. Swillens' essay in the catalogue of the 1961 exhibition at the Centraal Museum, Utrecht4, for example, represents the popu- lar analysis of Saenredam's

Journal

Oud Holland - Quarterly for Dutch Art History – Brill

Published: Jan 1, 1971

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