A Very Personal Copy: Pieter Van Veen’s Illustrations To Montaigne’s Essais

Kolfin, E.E.P.

doi:10.1163/ej.9789004156326.i-373.18

Cited by 2 publications

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“…The painter Pieter van Veen, for example, was especially interested in the animals described in Montaigne's Apology for Raymond Sebond. In a collection of 191 illustrations by van Veen, 87 referred to the Apology and 19 depicted animals as their subject, including an illustration of Montaigne's famous question about the possible subjectivity of the playing cat (Smith, 2007;Kolfin & Rikken, 2007 ' (2007: 115), aspects of Potter's canvas nevertheless do seem to lead towards that interpretation. In our view, however, to go further than this would surely risk anachronism.…”

Section: Resultsmentioning

confidence: 99%

Hunting Worlds Turned Upside Down? Paulus Potter’s Life of a Hunter

Beirne

Janssen

2018

Murdering Animals

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When asked by one of the editors of this special issue to consider submitting an essay on the significance to cultural criminology of a certain seventeenth-century Dutch painting that we had pointedly brought to his attention, one of us happily replied that we would attempt it. As likely authors, however, we soon began to mutter to ourselves that for our purposes, we were unable to distinguish with much satisfaction between cultural criminology, green criminology 1 and visual criminology. 2 We remain unable to do so. This seems not least because on numerous points and issues -power, inequality, spectacle, exclusion and suffering, for example -the chosen concepts and concerns of each of these evolving perspectives intersect with and blend into those of the other two. To the emerging perspective of what its exponents have recently dubbed a 'greencultural criminology' (Brisman & South, 2013), this essay seeks to add an exploratory historical case study of 'the visual': Life of a Hunter (c. 1647-1650) by the Dutch painter Paulus Potter. In keeping with the spirit of Brisman and South's consideration of 'the cultural significance of the environment' (2013: 130 [emphasis in original]), our aim here is to examine how, on occasion, the production and consumption of a certain image simultaneously manages to reflect the prevailing cultural standards of an era and to show the way to their erosion and possible transcendence. In approaching our task, we are also motivated by a shared interest in the current movement towards a nonspeciesist criminology. 3 (By 'nonspeciesism' we refer to and embrace what is surely one of the most daunting tasks facing criminology, namely, disengagement from the historical dominance of human interests over those of animals in discourses of abuse, cruelty and harm.)

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Section: Resultsmentioning

confidence: 99%

Hunting Worlds Turned Upside Down? Paulus Potter’s Life of a Hunter

Beirne

Janssen

2018

Murdering Animals

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The Animal as Agent of the Sublime in Rembrandt’s Rape Narratives and Ovid’s Metamorphoses

Litsardopoulou

2021

Philosophia

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In this article I will explore the relationship between man and animal as presented by Ovid in some of his rape stories narrated in the Metamorphoses. The stories I will discuss are those of Actaeon and Callisto, the rape of Europa and the rape of Proserpina. Against Ovid's background, I will examine Rembrandt's version of these stories. In other words, I will investigate how Ovid's textual construction of animals vs. humans relates to Rembrandt's painterly construction of them. Accordingly, I will explore how Rembrandt's presentation of animals in his mythical images may reflect some of the prevalent attitudes of the period towards animals. My final goal is to address the question of the sublime in Rembrandt's myths of human-animal transformation. Specifically, I will try to show that in his work the animals become agents of the sublime on a par with humans and gods. I will argue that similarly to Ovid's reader, Rembrandt's viewer experienced awe, amazement, even terror in front of his depictions of sublime passions, impossible disguises and transformations, his stories of violence, enacted collaboratively between man and animal.

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A Very Personal Copy: Pieter Van Veen’s Illustrations To Montaigne’s Essais

Cited by 2 publications

References 0 publications

Hunting Worlds Turned Upside Down? Paulus Potter’s Life of a Hunter

Hunting Worlds Turned Upside Down? Paulus Potter’s Life of a Hunter

The Animal as Agent of the Sublime in Rembrandt’s Rape Narratives and Ovid’s Metamorphoses

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