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Free Content Jacob van Ruisdael

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In his monographic essay on Jacob van Ruisdael, first published in 1902, Alois Riegl engages not only Ruisdael’s landscapes, but also explores theoretical questions concerning the relation between beholder and image on the basis of the formal analysis of key works. This carries moral and ethical implications for the act of viewing, which should, argues Riegl, be both selfless and disinterested. In seventeenth-century Dutch landscape painting, as developed not only by Ruisdael but by such countrymen as Rembrandt, Seghers, and Van Goyen, Riegl identifies atmosphere as an entity—as an all-encompassing atmospheric tone spread across the entire surface—rather than as a series of individual colorations derived from the individual objects depicted in the landscape. The response of the beholder to the totality of the work is thus framed by Riegl in terms of contemporary theories of empathy.
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  • The first journal publishing original English-language translations of seminal works presently only available in their source language. Essential reading for everyone in the international academic community concerned with visual arts, architecture and design.

    Global in scope and extensively illustrated, this unique and innovative new e-journal demonstrates the vitality of art historical and visual culture scholarship undertaken outside English-speaking territories and cultures. Offering high quality English language translations of seminal works presently available only in their source language, Art in Translation offers a fresh perspective on global art practices, history and theory. It covers all areas of the visual arts including painting, drawing, sculpture, architecture, design, and electronic media.

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