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...
| Publié dans: | Religion and the arts |
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| Auteur principal: | |
| Type de support: | Électronique Article |
| Langue: | Anglais |
| Vérifier la disponibilité: | HBZ Gateway |
| Journals Online & Print: | En cours de chargement...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Publié: |
Brill
2016
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| Dans: |
Religion and the arts
Année: 2016, Volume: 20, Numéro: 5, Pages: 587-607 |
| Sujets / Chaînes de mots-clés standardisés: | B
Kuyper, Jacques 1761-1808
/ Chalcographie
/ Marocain (Motif)
/ image de l'islam
/ Stuart, Martinus 1765-1826, De Mensch zoo als hij voorkomt op den behenden aardbol
/ Geschichte 1807
B Niederlande / Peinture / image de l'islam / Histoire 1800-1810 |
| RelBib Classification: | BJ Islam CE Art chrétien |
| Sujets non-standardisés: | B
Religion and Arts
the image of Islam in the West
religious diversity
Martinus Stuart
Jacques Kuyper
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| Accès en ligne: |
Volltext (Verlag) |
| Résumé: | 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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| ISSN: | 1568-5292 |
| Contient: | In: Religion and the arts
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| Persistent identifiers: | DOI: 10.1163/15685292-02005002 |