From Booklist:
This beautiful catalog presents a comprehensive treatment of the achievements of the Utrecht school of painters. Unlike their more well known compatriots, Rembrandt and Vermeer, who perfected naturalistic portraits of seventeenth-century Dutch cultural life, the Utrecht masters (including Abraham Bloemart and Cornelis van Poelenburch) infused their canvases with a blend of mythological imagination, baroque religiosity, and a Dutch sense of nature. Van Poelenburch's Landscape with the Flight into Egypt, which sets the biblical flight of Joseph and Mary against a vast seventeenth-century Utrecht landscape, is one of many examples of this distinctive artistic approach. The catalog also features eight scholarly essays on the sociopolitical milieu that gave rise to the Utrecht school. As a predominantly Catholic province, Utrecht proved both receptive to the Caravaggesque sensibilities of these artists and more generous in its patronage of their works than other parts of Protestant mercantile Holland. The writing is at times uneven, but overall this is a solid academic study that promises to broaden our understanding of Dutch art. Veronica Scrol
From Library Journal:
Can one ever tire of the luminous grace of the Dutch paintings produced in the first half of the 17th century, a unique period of economic and cultural flowering? This work, published to accompany an exhibition at the Fine Arts Museums of San Francisco, the Walters Art Gallery in Baltimore, and the National Gallery in London, answers most resoundingly in the negative. Essays by eminent scholars provide a cultural and social background to the art and the artists, but it is the paintings themselves, amassed from the best collections in the world, that speak out to the viewer. The tranquility of a landscape, the innovative lighting of an interior, the fantasy of an improbable assortment of flowers in a still life are all celebrations of a new sense of the world. The influence of the Caravaggesque style may well be traced through this period, but the final images are of a singularly personal body of work. Highly recommended for all art, academic, and large public collections.?Paula Frosch, Metropolitan Museum of Art Lib., New York
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