Captured at a Glance
This article focuses on the picture “Moroccans,” by Jacques Kuyper, in Martinus Stuart’s work. Although the picture of the “Moroccans” does not have any special art-historical value, it is interesting as a document-cum-monument that tells a fascinating story about another tipping point with regard t...
Main Author: | |
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Format: | Electronic Article |
Language: | English |
Check availability: | HBZ Gateway |
Journals Online & Print: | |
Fernleihe: | Fernleihe für die Fachinformationsdienste |
Published: |
Brill
2016
|
In: |
Religion and the arts
Year: 2016, Volume: 20, Issue: 5, Pages: 587-607 |
Standardized Subjects / Keyword chains: | B
Kuyper, Jacques 1761-1808
/ Copperplate engraving
/ Moroccan (Motif)
/ Islam
/ Stuart, Martinus 1765-1826, De Mensch zoo als hij voorkomt op den behenden aardbol
/ Geschichte 1807
B Netherlands / Painting / Islam / History 1800-1810 |
RelBib Classification: | BJ Islam CE Christian art |
Further subjects: | B
Religion and Arts
the image of Islam in the West
religious diversity
Martinus Stuart
Jacques Kuyper
|
Online Access: |
Volltext (Verlag) |
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520 | |a This article focuses on the picture “Moroccans,” by Jacques Kuyper, in Martinus Stuart’s work. Although the picture of the “Moroccans” does not have any special art-historical value, it is interesting as a document-cum-monument that tells a fascinating story about another tipping point with regard to the image of Islam in Dutch history. “Moroccans” conveys a message that a twenty-first-century beholder cannot, or can no longer, grasp at a glance. This message cannot be understood unless the picture itself, as well as Martinus Stuart’s comment to it, is studied, and both are interpreted in their own socio-historical context. | ||
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