Professor%20Hanneke%20Grootenboer: List of publications
Showing 1 to 36 of 36 publications
The Pensive Image
February 2021
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Book
Painting as Denkbild
July 2019
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Journal article
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Nineteenth-Century Art World Wide
The metaphysics of drawing
March 2019
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Journal article
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Art History
FFR
Wie man einen Kuss verwahrt Die Porträtminiatur als intimes Andenken
April 2018
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Conference paper
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Wahrnehmen, Speichern, Erinnern. Gedächtnisprozesse in den Künsten
Arresting What Would Otherwise Slip Away: The Waiting Images of Jacob Vrel
March 2018
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Chapter
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Time in the History of Art Temporality, Chronology and Anachrony
Addressed to students of the image--both art historians and students of visual studies--this book investigates the history and nature of time in a variety of different environments and media as well as the temporal potential of objects.
On the Still Lifes of Lisa Milroy
February 2018
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Chapter
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Here & There: Lisa Milroy
The self-conscious image: Painting and Hegel’s idea of reflection
January 2018
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Chapter
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The Art of Hegel's Aesthetics: Hegelian Philosophy and the Perspectives of Art History
Hanneke Grootenboer. Review of "Rembrandt: The Painter Thinking" by Ernst van de Wetering.
December 2017
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Journal article
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CAA Reviews
Wie man einen Kuss verwahrt Die Porträtminiatur als intimes Andenken
December 2017
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Journal article
Subliem Stilleven. Het werk van Adriaen Coorte en Elias van der Broeck
May 2017
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Journal article
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De Witte Raaf
The Reinvention of Seeing. Eye of the Beholder: Johannes Vermeer, Antoni van Leeuwenhoek, and the Reinvention of Seeing by Laura J. Snyder
February 2017
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Journal article
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History Today
Wie man einen Kuss verwahrt Die Porträtminiatur als intimes Andenken
December 2016
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Chapter
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Wahrnehmen, Speichern, Erinnern Gedächtnistransfers in Kunst und Wissenschaft, ,650–1800
Um 1800 wurde, wahrscheinlich in St. Petersburg, eine Serie von drei sehr ungewöhnlichen Bildern gemalt, die sich noch heute in der Sammlung der Eremitage befindet (Abb. 1–3). In ähnlichen Kompositionen zeigen diese Miniaturen isolierte Partien eines menschlichen Körpers: ein einzelnes Auge, einen Mund sowie zwei Hände mit einem Schriftstück, jeweils von blaugrauen Wolken umgeben. Die mit relativ preiswerten bronzenen Rahmen versehenen kleinen Bildanhänger sind nicht signiert, und es ist praktisch unmöglich, in diesen Darstellungen eine porträtierte Person zu identifizieren.
‘Sublime Still Life: On Adriaen Coorte, Elias van den Broeck, and the Je ne sais quoi of Painting’
June 2016
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Journal article
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Journal of the History of Netherlandish Art 8:2
A Clock Picture as a Philosophical Experiment: The Tableau Mécanique in the Physics Cabinet of Bonnier de la Mosson
April 2016
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Journal article
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Art History
3601 Art History, Theory and Criticism, 36 Creative Arts and Writing
Rescued from Oblivion: On Neudecker’s Photographs
September 2015
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Chapter
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Plastic Vanitas: Mariele Neudecker
Portraiture as Encounter
June 2014
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Journal article
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Oxford Art Journal
3601 Art History, Theory and Criticism, 36 Creative Arts and Writing
Private View
May 2013
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Chapter
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Ruby's Room: Photographic Miniatures
The Tradescants' Orchard: The Mystery of a Seventeenth-Century Painted Fruit Book
April 2013
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Book
In the early seventeenth century there was eager interest, among the leisured classes, in fruits from the Mediterranean and beyond, not least for the kitchen gardens and orchards of England's grand houses. The volume of charming, vibrant, almost primitif watercolour paintings of orchard fruits on the branch, popularly known as 'Tradescants' Orchard', is a precious and fragile relic of this era of broadening horticultural horizons. This manuscript, traditionally associated with the renowned plantsmen, the John Tradescants, was among the eclectic collections of Elias Ashmole (1617-1692), which came to form the basis of the Ashmolean Museum in Oxford. Then, in 1860 it was transferred to the Bodleian Library. It has been quietly recognized as a mysterious treasure, yet the paintings raise many unanswered questions. Who painted them, and for whom? What was their purpose? Only one apple is represented - were there once others, now missing? Whose handwriting appears in the manuscript? Why did the artist paint wildlife such as birds, frogs and butterflies on many of the folios? All sixty-six of the original illustrations are reproduced here in facsimile for the first time, following a general introduction which maps out the mystery of why and how these beguiling watercolours came to be commissioned and made.
Intimate Portrait: Eye, Mouth and Hand Miniatures
April 2013
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Chapter
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La Miniature en Europe: Des Portraits de Propagande aux Oeuvres Eléphantesques
Cet ouvrage publié avec l'aide de la Fondation Simone et Cino del Duca de l'Institut de France, rassemble les actes du 2 e colloque international organisé à Paris les 11 et 12 octobre dernier. La réunion de spécialistes de dix nationalités différentes et la mise en commun des savoirs ont permis l'attribution, la ré-identification de portraits de plusieurs collections publiques et privées, la découvertes d'œuvres perdues. Les lecteurs y trouveront 20 contributions, les unes en français, les autres en anglais, selon la langue dans laquelle elles ont été prononcées. La publication couvre en trois volets de multiples aspects inédits de l'art de la miniature du XVIIe siècle au XIXe siècle, qui intéresseront historiens d'art et amateur.
Oxford Art Journal Special Issue
March 2013
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Other
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Oxford Art Journal
Treasuring the Gaze: Intimacy and Extremity of Vision Eye Miniature Portraits
March 2012
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Book
The end of the eighteenth century saw the start of a new craze in Europe: tiny portraits of single eyes that were exchanged by lovers or family members. Worn as brooches or pendants, these minuscule eyes served the same emotional need as more conventional mementoes, such as lockets containing a coil of a loved one’s hair. The fashion lasted only a few decades, and by the early 1800s eye miniatures had faded into oblivion. Unearthing these portraits in Treasuring the Gaze, Hanneke Grootenboer proposes that the rage for eye miniatures—and their abrupt disappearance—reveals a knot in the unfolding of the history of vision.
Drawing on Alois Riegl, Jean-Luc Nancy, Marcia Pointon, Melanie Klein, and others, Grootenboer unravels this knot, discovering previously unseen patterns of looking and strategies for showing. She shows that eye miniatures portray the subject’s gaze rather than his or her eye, making the recipient of the keepsake an exclusive beholder who is perpetually watched. These treasured portraits always return the looks they receive and, as such, they create a reciprocal mode of viewing that Grootenboer calls intimate vision. Recounting stories about eye miniatures—including the role one played in the scandalous affair of Mrs. Fitzherbert and the Prince of Wales, a portrait of the mesmerizing eye of Lord Byron, and the loss and longing incorporated in crying eye miniatures—Grootenboer shows that intimate vision brings the gaze of another deep into the heart of private experience...
Introduction: The Substance of Wax
January 2012
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Journal article
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The Oxford Art Journal
The Line of Thought
September 2011
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Chapter
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Drawing A Hypothesis Figures of Thought
The book is a rich compendium of figures of thought, which moves from scientific representation through artistic interpretation and vice versa.
Art
The Pensive Image: On Thought in Jan van Huysum's Still life Paintings
March 2011
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Journal article
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The Oxford Art Journal
The Thought of Painting
January 2011
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Chapter
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Vom Objekt zum Bild. Piktorale Prozesse in Kunst und Wissenschaft, 1600-2000
Rhetorik der Durchsichtigkeit, Oder der Beweis des Realismus Jan van Huysums
June 2010
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Chapter
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Zeigen. Die Rhetorik des Sichtbaren.
In den Augen vieler haftet dem Zeigen etwas Primitives an, das Handgreifliche der Gebärde oder Geste, die bloße Hilfsfunktion eines Zeigers oder Zeichens. Es scheint hinter den komplexen Möglichkeiten des Sagens und Denkens zurückzubleiben. Nur wer nichts verstanden hat, braucht den direkten Fingerzeig.
Mit der Diskussion über das besondere Potenzial ikonischer Präsentation kommt das Zeigen auf eine neue Weise in den Blick. Es wird deutlich, dass der Ursprung des Zeigens im Felde der Sichtbarkeit liegt, dort wo eine Sache vor Augen tritt und umgekehrt der Blick auf diese Sache gerichtet wird. Zwischen diesem Präsentieren und dem darauf gerichteten Blick liegt das Bild: Es zeigt, indem es auf etwas anderes verweist. Zugleich zeigt es sich selbst, denn nur so kann es auf etwas anderes verweisen. Eine kritische Reflexion des Bildes muss immer auch bei diesem doppelten Zeigen des Bildes ansetzen und es im Sinne der ihm eigenen „Rhetorik des Sichtbaren“ diskutieren.
How to become a Picture: Theatricality as Strategy in Seventeenth-Century Dutch Portraits
January 2010
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Journal article
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Art History: journal of the Association of Art Historians
Image [&] Narrative Special Issue
September 2007
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Other
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Image and Narrative: online magazine of the visual narrative
Introduction: The Thought of Images
September 2007
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Journal article
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Image and Narrative: online magazine of the visual narrative
Reading the Annunciation, Or the Navel of the Painting
June 2007
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Journal article
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Art History: journal of the Association of Art Historians
This essay explores Mieke Bal's mode of reading pictures through an analysis of several Annunciation paintings. Annunciation paintings have often posed a stumbling block to arthistorical interpretation. Supported by Bal's method of visual analysis, the author suggests that the problem of interpreting the Annunciation results in part from iconography's insufficiency, as well as its sexually repressed subject matter, as well as from their embedding in the formal apparatus of perspective. Grootenboer contends that the problem of the Annunciation lies in the mystery of the Incarnation as much as in perspective's presumed innocence as a transparent method for rendering the mystery visible. The author's aim is to demonstrate the complicity between perspective, also called construzione legittima, and the theme of the Annunciation has eventually legitimized an infinite unravelling of the secret.
The Rhetoric of Perspective: Realism and Illusionism in Seventeenth-Century Dutch Still-Life Painting
December 2006
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Book
Perspective determines how we, as viewers, perceive painting. We can convince ourselves that a painting of a bowl of fruit or a man in a room appears to be real by the way these objects are rendered. Likewise, the trick of perspective can prevent us from being absorbed in a scene. Connecting contemporary critical theory with close readings of seventeenth-century Dutch visual culture, The Rhetoric of Perspective puts forth the claim that painting is a form of thinking and that perspective functions as the language of the image.
Aided by a stunning full-color gallery, Hanneke Grootenboer proposes a new theory of perspective based on the phenomenological aspects of non-narrative still-life, trompe l'oeil, and anamorphic imagery. Drawing on playful and mesmerizing baroque images, Grootenboer characterizes what she calls their "sophisticated deceit," asserting that painting is more about visual representation than about its supposed objects.
Offering an original theory of perspective's impact on pictorial representation, the act of looking, and the understanding of truth in painting, Grootenboer shows how these paintings both question the status of representation and explore the limits and credibility of perception.
Art
Treasuring the Gaze: Eye Miniature Portraits and the Intimacy of Vision
September 2006
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Journal article
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Art Bulletin
A peculiar whim of sentimental jewelry, eye miniature portraits became the fashion about 1800 in northern Europe, in particular among British aristocrats. Exchanged as tokens of affection between lovers, friends, and family members, these small images depicting the eyes of individuals have a double investment in the visual as representations as well as agents of vision. These portrayals of the gaze differ from regular miniature portraits in that they are not objects of contemplation but instead entail a reversal of the object and subject of looking. As such, they offer a prephotographic instance of “being seen.”
Heidi de Mare, Huiselijke taferelen. De veranderende rol van het beeld in de Gouden Eeuw
Journal article
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BMGN - Low Countries Historical Review
4303 Historical Studies, 43 History, Heritage and Archaeology
Home away from Home: The Miniature Shell Collection in Petronella Oortman’s Dollhouse
Chapter
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Conchophilia: Shells as Exotica in the Early Modern World
Review of 'Drawing and the Senses: An Early Modern History' by Caroline Fowler