"The art historian after Erwin Panofsky and Ernst Gombrich is not only participating in an activity of great intellectual excitement; he is raising and exploring issues which lie very much at the centre of psychology, of the sciences and of history itself. Svetlana Alpers's study of 17th-century Dutch painting is a splendid example of this excitement and of the centrality of art history among current disciples. Professor Alpers puts forward a vividly argued thesis. There is, she says, a truly fundamental dichotomy between the art of the Italian Renaissance and that of the Dutch masters. . . . Italian art is the primary expression of a 'textual culture, ' this is to say of a culture which seeks emblematic, allegorical or philosophical meanings in a serious painting. Alberti, Vasari and the many other theoreticians of the Italian Renaissance teach us to 'read' a painting, and to read it in depth so as to elicit and construe its several levels of signification. The world of Dutch art, by the contrast, arises from and enacts a truly 'visual culture.' It serves and energises a system of values in which meaning is not 'read' but 'seen, ' in which new knowledge is visually recorded."--George Steiner, "Sunday Times"
"There is no doubt that thanks to Alpers's highly original book the study of the Dutch masters of the seventeenth century will be thoroughly reformed and rejuvenated. . . . She herself has the verve, the knowledge, and the sensitivity to make us see familiar sights in a new light."--E. H. Gombrich, "New York Review of Books"
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Brave and provocative. Learn how to make a strong argument without stretching oneself. Plus the illustrations are so beautiful.
评分最为称道的是两方面论述：1，荷兰的描绘性绘画和英格兰的经验主义科学的关系；2，尼德兰文艺复兴与南部文艺复兴透视法的比较。
评分非常重要的书。内容和思路原创性很强、作者的一些论点也颇为大胆，格局洒脱但是不松散。其实从某种程度上可以算是一种去中心化的尝试，具体有两点，1.基本完全脱离意大利的语境和assumption，也很少refer到意大利的艺术传统，而是完全从荷兰的文化智识传统梳理方式荷兰人的观看方式，2.也脱离了传统艺术史以Vasarian的方法、图像学和形势分析为核心的思路。前面章节和Bacon结合在一起的部分非常咱。美中不足的是感觉作者有点急着想把自己的论点说清楚而稍微有点不那么从容，不过当然是瑕不掩瑜~
评分太难看了忍不住吐槽 文科教授的通病就是爱跑题和爱炫耀吧
评分给你一个老刘
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