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Civic guard portraits: private interests and the public sphere

Civic guard portraits: private interests and the public sphere Ann Jensen Adams Group portraits of individuals related not by family ties but by voluntary membership in a social or economic organization were produced in unprecedented numbers in seventeenth-century Holland. 1 A number of new circumstances seem to have contributed to this quantity including the proliferation of institutions, their expanded social roles, and - my subject here - the function of portraits in imaginatively shaping personal identity and social relations among a larger segment of the population than in other cultures and in previous centuries. The study of the Dutch group portrait has been dominated by two approaches. A formal approach originating in seventeenth-century comments on the compositions of some of these works was given its most systematic and still influential articulation by Alois Riegl in 1902.2 Riegl argued that style was independent from contemporary events, and traced a history of the Dutch group portrait through three stages or formal solutions to what he defined as the problem of visually and psychologically unifying a group of individuals. He argued that these stages culminated in Rembrandt's Nightwatch where an internal narrative - the subordination of the men to their captain as he gives the order to march out - http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online Brill

Civic guard portraits: private interests and the public sphere

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Publisher
Brill
Copyright
Copyright 1995 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0169-6726
eISSN
2214-5966
DOI
10.1163/22145966-90000131
Publisher site
See Article on Publisher Site

Abstract

Ann Jensen Adams Group portraits of individuals related not by family ties but by voluntary membership in a social or economic organization were produced in unprecedented numbers in seventeenth-century Holland. 1 A number of new circumstances seem to have contributed to this quantity including the proliferation of institutions, their expanded social roles, and - my subject here - the function of portraits in imaginatively shaping personal identity and social relations among a larger segment of the population than in other cultures and in previous centuries. The study of the Dutch group portrait has been dominated by two approaches. A formal approach originating in seventeenth-century comments on the compositions of some of these works was given its most systematic and still influential articulation by Alois Riegl in 1902.2 Riegl argued that style was independent from contemporary events, and traced a history of the Dutch group portrait through three stages or formal solutions to what he defined as the problem of visually and psychologically unifying a group of individuals. He argued that these stages culminated in Rembrandt's Nightwatch where an internal narrative - the subordination of the men to their captain as he gives the order to march out -

Journal

Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online – Brill

Published: Jan 1, 1995

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