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From the mid-sixteenth century, Antwerp saw an explosion of printed histories, etymological research into place names, and Netherlandish dialects, as well as the publication of Dutch dictionaries and grammars. Simultaneously, Antwerps art market saw a boom in the production of peasant scenes and the rising fame of Pieter Bruegel the Elder. In this article, I will argue that in both pictorial and textual representation, the peasant acted as a metaphoric vehicle, a type of living archaeological record and embodiment of local history, central to the production of a uniquely Netherlandish vernacular cultural identity.
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Iconography --- iconography --- farmers [people in agriculture]
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Art --- History --- farmers [people in agriculture] --- Ostade, van, Adriaen
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Painting --- farmers [people in agriculture] --- Bruegel, Pieter [Elder] --- Netherlands --- Belgium
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This article addresses the genesis and reception of three engravings representing peasants made by Albrecht Dürer between the years 1514 and 1519. These images have been interpreted as social commentary or low-brow farce; I argue their importance is art theoretical. In my view, they are the result of Dürer’s 1505–6 visit to Venice, where Italian artists derided his ability to work in a classical idiom. In response, I argue, Dürer developed a method of imitation that I call “inverse citation,” which veils a famous antique model in the guise ofa boorish peasant. Following Luther’s rebellion against the Church, northern artists took up this technique with more polemical aims.
engravings [prints] --- farmers [people in agriculture] --- Dürer, Albrecht
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Reformation --- farmers [people in agriculture] --- protestantisme --- Laocoön-groep --- Dürer, Albrecht
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