Vondel’s Brothers and the Power of Imagination

Bussels, Stijn

doi:10.1353/cdr.2015.0009

cdr

2015

DOI: 10.1353/cdr.2015.0009

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Vondel’s Brothers and the Power of Imagination

Stijn Bussels¹

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2018

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“…Vondel was particularly committed to optimizing the impact of the performance and regularly worked with Jan Vos. 20 As head of the Amsterdam Theatre, the latter attempted to augment the power of Vondel's tragedies by including tableaux vivants and dances, among other things. Despite the efforts dedicated to making these plays a success, however, the Aristotelian and Horacian restrictions weighed heavily and, over time, the titles slipped out of the repertoire.…”

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Dutch Classicism in Europe

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2018

The Cambridge Companion to the Dutch Golden Age

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At first glance, the Golden Age and classicism would not seem to be an obvious pairing. Of all the art produced in the Dutch Republic during the seventeenth century, the works which are viewed as paeans to the everyday are the ones that generally receive the most attention. Biblical and mythological subjects are framed as domestic genre scenes or usurped by painted still lifes, landscapes, and seascapes. In contrast, classicism harks back to Greco-Roman antiquity and strives for simplicity and harmony, but also monumentality and grandeur. All of this is far removed from the daily life that in the Republic was so often immortalized in paint. * The prevalence of everyday life in the art of the Golden Age should, however, be qualified. Greco-Roman antiquity was, in reality, an important influence within the seventeenth-century Dutch Republic and often eclipsed the representation of daily life in painting, architecture, and the theatre. One of the most pre-eminent examples of classicism is the mid-century Huis ten Bosch, which was designed by Pieter Post as a retreat for Amalia van Solms, wife of the stadholder Frederick Henry (Figure 16.1). 1 Hailed both at home and abroad, the commission conferred a semi-regal aura upon the House of Orange. The English envoy Samuel Pepys claimed that the central space, known as the Orange Hall, was the most impressive painted room that he had ever seen. The chamber, which is shaped like a Greek cross with truncated arms, * This chapter is the result of research that was undertaken within the framework of the ERC Starting Grant programme, 'Elevated Minds: The Sublime in the Public Arts in Seventeenth-Century Paris and Amsterdam'. I would like to thank Caroline van Eck, Art Di Furia, Mieke Kolk, Koen Ottenheym, and Bram van Oostveldt for their comments on earlier versions.

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Dutch Classicism in Europe

Bussels¹

2018

The Cambridge Companion to the Dutch Golden Age

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Vondel’s Brothers and the Power of Imagination

Cited by 1 publication

References 9 publications

Dutch Classicism in Europe

Dutch Classicism in Europe

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