![]() ![]() Genre pictures were concerned with contemporary society and human nature, still life with domestic life and collectibles (including flowers), and seascapes with foreign travel, the sea itself, the grandeur of nature, and so on. Patrons from the mercantile and professional classes developed an interest in works of art that reflected their everyday lives and values. This was most remarkable in the province of Holland, where such important Dutch cities as Amsterdam, Haarlem, Leiden, The Hague, Rotterdam, and Dordrecht are located (the major exception is Utrecht, in the province of that name), and where as much as 70 percent of the population lived in cities and towns rather than on the land. Of the many factors that gave rise to secular subjects in art, such as landscape, seascape, still life, and genre painting, the most fundamental was the urbanization of European society during the 1500s and 1600s. ![]() The latter were more costly to produce (in time and materials), more expensive to purchase, and, as works displayed prominently in homes, represented a greater shift in taste than works on paper (which were stored and viewed only occasionally). In general, the most experimental ideas, which in the decades about 1600 included the most direct responses to actual topography and motifs, happened first in drawing, then in prints, and rather more slowly in paintings. 1524) ( 36.14a–c), influenced printmakers such as Hans Bol (1534–1593) who spread ideas for landscape subjects and compositions through woodcuts, engravings, and etchings. 1525–1569), such as The Harvesters ( 19.164), as well as the imaginary panoramas of Joachim Patinir (d. The pioneering landscape paintings of Pieter Bruegel the Elder (ca. In Flanders (the dominant province of the Spanish Netherlands), particularly in the great port city of Antwerp, landscape became a popular subject for painters and especially draftsmen and printmakers from the mid-1500s onward. ![]() Bearing titles that refer to Antonio Manetti and Sandro Botticelli, these paintings of Minozzi perceptively address the very status of painterly representation of the urban landscape as a theoretical polemic within our time, an age inundated by accelerating rates of inception and dissemination of imagery through mechanical and digital means.During the 1600s, landscape painting flourished as an independent genre in the Dutch Republic (United Provinces of the Netherlands) and in the Spanish Netherlands (now Belgium). While Minozzi explosively charges many of his cityscapes through such titles as edral (Manhattan) I and The Silent Tower, urging a critique of hegemonic cultures, other paintings manifest highly imaginary, if not offbeat, representations of temporally undefinable urban settings. Such historical landscapes and those by Minozzi address, through their own contexts, forms of civic order and “human-induced degradation” that alarmingly threatens the natural world, its species and mankind’s habitat, to borrow the phrase from the architectural theorist and urbanist Rem Koolhaas.* These paintings also remain connected to a broad range of art-historical instances of the pictorial representation of the city through diverse styles and contents, recalling such works as Ambrogio Lorenzetti’s fresco Effects of Good Government in the City and the Country (1338-39) in the Sala della Pace in Palazzo Pubblico in Siena and Pieter Brueghel the Elder’s oil-on-wood painting titled The Tower of Babel (circa 1563) in the Kunsthistorisches Museum in Vienna. The congested urban landscape has been a crucial and paradoxical subject for Marco Minozzi over the past decade, as it simultaneously mirrors the artist’s direct observation of spaces he inhabits and spaces he imagines, tapping into their benefits and faults. ![]()
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