Art Beats Nature, and Painting Does so Best of All: The Paragone Competition in Duquesnoy, Dou and Schalcken

Hecht, Peter

doi:10.2307/3780934

Cited by 1 publication

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“…Dutch artists lived with plaster casts, perhaps more than anyone else in the prosperous Republic, and pictured with him all the material his brother had already packed to be shipped to Paris" (Hecht 2002: 194). Jerôme's access to original works put him in a privileged position to oversee the production of casts to sell (Hecht 2002). By midcentury, there was evidently a lively market for copies of Duquesnoy sculpture in the Netherlands.…”

Section: Reproducing Reproductionsmentioning

confidence: 99%

“…Hecht in particular has explored how Dou was primarily preoccupied with paragone, citing the modifications he sometimes made to Duquesnoy's composition (Hecht 2002). Given that the source for the relief was a plaster cast, Dou's depictions of it are doubly performative: to boast that paint can completely imitate stone, he must use it to victory over vice and envy.…”

Section: Reproducing Reproductionsmentioning

confidence: 99%

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The Plaster Cast and the Intimacy of the Studio

Lores-Chavez

2023

GEC

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In the seventeenth century, plaster casts, which were essential sources of inspiration and instruction, became a recurring motif in images of Dutch painters’ workspaces, a marker of both intellectual and manual labor. Painters used plaster casts to proclaim their erudite knowledge of antiquity and of Renaissance sculpture that emulated ancient models. Plaster casts also provided a means for ambitious painters to communicate their personal and aspirational ties to other masters. The presence of plaster casts in archival records along with painted depictions of the studio provide insights into the impact of these objects on Dutch artists’ practice and the distinguished lineages they claimed.

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Section: Reproducing Reproductionsmentioning

confidence: 99%

Section: Reproducing Reproductionsmentioning

confidence: 99%