DUTCH LOOK
" N Elle Flanders is painted in order to obtain the accuracy or exterior paint things that can entertain and which you can not speak ill, such as saints and prophets. They paint objects and houses, green grass of the fields, the shadows of the trees, and rivers and bridges, which they call landscapes the "wrote Michelangelo with a good dose of sufficiency.
" I n terms of analysis of the light we could say that the southern artist (Italian) deals with the lux (the light emitted from the eyes to explore the world), while the artist is concerned with the Nordic lumens (the light emitted by objects) " wrote the great scholar of Dutch painting Svetlana Alpers.
You can see the Netherlands with Dutch eyes? It 's a long apprenticeship to the Italian who orders the world by lux. But you can if you follow obediently the mastery of the Dutch painters of the Golden Century. They are thus conceivable thousand routes that no tour operator has yet devised. Allow communication between the figures of Dutch paintings with the Dutch landscape. Going and going from one to another as long as lux and lumen be one.
You can start from the fields of painting, like the Maurithuis Hague, the Frans Hals Museum of Haarlem, the Boymans Van -Beuningen, Rotterdam, the labyrinthine Rijksmuseum in Amsterdam, or, more modestly, by a good collection of Dutch paintings in print. The plots are many. Here he suggests a few. Pieter Saenredam represents the interiors of many churches in the Netherlands. The prevailing view of the area and is combined with different points of view. Some are internal to the framework itself, where an observer directs his gaze on a particular and forces us outside, to enter into his vision. The appeal is sustained is the geometry of a contemporary, Mondrian. The interior of the Church of San Lorenzo to Alkmaar is still there as he thought Saenredam monumental organ hosts concerts almost every day. 
In the city on Friday morning there is the famous cheese market, which, as we know, is a source of pride throughout the Netherlands. But he can not deceive the Italian palate that with healthy nationalism, has impressed the extraordinary variety of milk flavors of the Mediterranean regions. The ad market is given by a concert of bells in the Netherlands are not a thing of the past, but a real genre. Carillon the call and in every city, Amsterdam as Utrecht, musicians perform in concerts, specialized air crossing streets and squares. Playing music eighteenth-century or contemporary, made ad hoc. As Gabriel Metsu, Woman at the Virginal to Boymans Rotterdam, the music also filters the houses in the Dutch city where seemingly everyone knows how to put his hand to an instrument . Or at least good to expose to the gaze of passers-by.
Jan Steen usually depicts the interior of the tavern or families spree, which even now are called " the Jan Steen household. " What does the painter? It tells of a poor full of charm, the dirt, the spree, the intemperance are seen with the eye of those who know something. Perhaps because he was Catholic or perhaps because the Dutch company has always been standard in combining rigor and pleasure. The interior of the inn have the same tone of bruin kroeg , of \u200b\u200bwhat we translate improperly "dark tavern," that is a Dutch institution. E 'dark smoke because nicotine and have decorated the walls, furniture, and maybe the customers. Place of loose talk, where, in exchange for opposition to gain a commercial society, the exchange takes place unproductive but fertile, words. Hundreds to Amsterdam, each with its own individuality and loyal clientele.
But the same view of the interior to find north, Groningen , Amsterdam sister water, or to the south, 's- Hertogensbosch, where in 1450 were born Jeronimus Bosch and his alchemical hallucinations. [To stay in the family, Saenredam has painted the Cathedral of St. John] Unfortunately the city does not keep his paintings, despite the apocryphal the Museum. You have to go to the Prado in Madrid, at the Palazzo Ducale in Venice, the Louvre or the Boymans Rotterdam.
Jan Vermeer , he tells of Paul Claudel " What fascinates me is that pure look , bare, sterile, clean up all traces of material, d ' a mathematician or almost angelic candor, or we simply photographic. But that picture! In it, the painter, isolated within his lens captures the outside world ". Eye as a camera obscura, a summary of discovery and production, nature and art. Most of the outside world that it portrays itself in the eye, however, that this is the look. The View of Delft to Mauritshuis in The Hague, the Netherlands provides evidence of our eye. So his other paintings, special home or interior. Turning to Delf, as The narrow street, the Rijksmuseum, it becomes evident the formation of the colonial city, with originally Chinese ceramics and the tombs of the great admirals and at the same time, we have confirmation of continuity throughout Dutch interior and exterior. The window as a means of revelation. He does not hide, he exhibited. It makes visible and friendly intimacy the bourgeois home. As a part of V ermeer, precisely. By measuring the light and attention. But the window is the window. Show folds of the soul of the tenants: objects of nostalgia, flowers, dolls and doll toys. As in thousands of Dutch paintings obsessed by the presence and arrangement of objects in space.
Always the eye and gaze at the center. Spinoza, on the other hand, manufactured lenses.
And the landscape is no exception to pictorial construction. A campaign, a view of the city are still the thrill of travel sincere. View of Dordrecht of Jan van Goyen is a little 'prototype. A water course, a far horizon, the clouds in motion. A configuration that puts a strain on the Italian traveler, accustomed to ondularità vistas to their mobility. Nothing to characterize edges. A campaign the same everywhere. A theory is a bit 'based on materialistic this landscape Dutch tolerance and the culture of acceptance. Were it not that the sea, the other Dutch invisible horizon, does not let tame. Willem van de Velde the Younger, the largest of the marine painter, knows this well and its waves are still disturbing. How do you know anyone who has made even a trip to the island of Terschelling and others that are in the North Sea. And here have watched the coast. Two worlds and perhaps two philosophies that did not cancel out. The sea as a barrier to the land to conquer and as a way to go. The East India Company EEI polders. Water and soil.
There Rembrandt Dutch on a trip to Holland. He was at odds with the art of describing his fellow countrymen. Another Holland is in his paintings. Is inside the inner landscape of human beings. Dutch or not.
What follows is an excerpt from a larger work published anonymously - to editorial disputes - some years ago. It is also one of the issues driving Amsterdam, published in three editions and now finding a bibliography. For any fans / and mark my references:
Svetlana Alpers, The Art of Describing . Science and painting in the seventeenth century Dutch
Torino, 1984,
Stephen Keyla, Pieter Saenredam and the Organ: A Study of three Images, in Imago Musicae , III, 1986, appassionante;
Baruch D. Kirschenbaum, The Religious and Historical Paintings of Jan Steen, New York, 1977,
D.Fink, Vermeer's Use of the Camera Obscura: a Comparative Study , in The Art Bulletin , vol. 153, 1971.
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