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Dutch Neorealism, Cinema, and the Politics of Painting, 1927–1945

This study offers a radically new perspective on Dutch Neorealism, one that emphasizes the role of film as an apparatus, the effects of which, when emulated in painting, can reproduce the affective experience of film-watching. More of a tendency than a tightly defined style or "ism," Neorealism is t...

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Hovedforfatter: Huber, Stephanie Lebas
Format: Online
Sprog:engelsk
Udgivet: Taylor & Francis 2024
Fag:
Nazi
occupation
cinema
artists
Netherlands
Europe
World War I
First World War
Second World War
totalitarian
authoritarian
Magic Realism
realism
figurative
politics
revolutionary
reactionary
self portrait
Old Master
aesthetics
propaganda
National Socialist
nationalism
art history
Nederlandsche Filmliga
Pyke Koch
Charley Toorop
Dick Ket
Nederlandsche Kultuurkamer
Reich
thema EDItEUR::G Reference, Information and Interdisciplinary subjects::GT Interdisciplinary studies::GTM Regional / International studies
thema EDItEUR::N History and Archaeology
thema EDItEUR::J Society and Social Sciences::JB Society and culture: general::JBC Cultural and media studies::JBCT Media studies
thema EDItEUR::A The Arts::AG The Arts: treatments and subjects::AGA History of art
thema EDItEUR::A The Arts::AB The arts: general topics::ABA Theory of art
thema EDItEUR::N History and Archaeology::NH History::NHD European history
thema EDItEUR::N History and Archaeology::NH History::NHW Military history::NHWR Specific wars and campaigns::NHWR7 Second World War
thema EDItEUR::N History and Archaeology::NH History::NHW Military history::NHWL Modern warfare
Online adgang:ONIX_20240909_9781040135129_63
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Summary:This study offers a radically new perspective on Dutch Neorealism, one that emphasizes the role of film as an apparatus, the effects of which, when emulated in painting, can reproduce the affective experience of film-watching. More of a tendency than a tightly defined style or "ism," Neorealism is the Dutch variant of Magic Realism, an uncanny mode of figurative painting identified with Neue Sachlichkeit in Germany and Novecento in Italy. Best represented by the Dutch artists Pyke Koch, Carel Willink, Charley Toorop, Raoul Hynckes, Dick Ket, and Wim Schuhmacher, Neorealism—as demonstrated in this book—depicted societal disintegration and allegories of looming disaster in reaction to the rise of totalitarian regimes and, eventually, the Nazi Occupation of The Netherlands. The degree to which these artists exhibited either revolutionary or reactionary sentiments—usually corresponding with their political affiliation—is one of the central problematics explored in this text. The book will be of interest to scholars working in art history, World War II history, and film studies.

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