Seventeenth-Century Dutch Painting and Modern Literature

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Series Information
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Table of Contents
List of Abbreviations
Part I: Writer as an Art Historian
	Introduction
		Mediated Reception
		The Status of People Writing about Art
	Chapter One: Landscape
		“Landscapes in Frames:” Pankiewicz, Makowski, Cybis, and Herbert Following Seventeenth-Century Dutch Landscape Artists (and Fromentin)
			First Polish Readers of The Masters of Past Time
			A Polemic with Fromentin
		Petit Pan de Mur Jaune: Czapski, Herling-Grudziński, and Herbert in the Face of Proust’s Vision of View of Delft
			Czapski on Bergotte’s Premortem Illumination
			Contre Proust: Herling-Grudziński in Search of the “Little Patch of Yellow Wall”
			“That Wall with Warm Light”
			Three Lessons of Rapture
	Chapter Two: Genre Painting
		“Wide-open Door Invites Us:” Writers Peek into Dutch Homes
			Doorsien
			The Rules of Love Letters
			“Silent Witnesses of Eluding Meaning”
		“In Painted Silence and Concentration:” Literary Attempts to Individualize the Female Protagonists of Vermeer’s Genre Scenes
			Girl Reading a Letter at an Open Window
			The Milkmaid
			The Lacemaker
			“Cloister Aura”
	Chapter Three: Still Life
		Between Painterly and Literary Perception of Objects: Seventeenth-Century Dutch Still Life in Czapski and Herbert
			“The Joy of Looking at Objects:” Ennoblement of Still Life
			“Killed Nature”
			“Dead” for Czapski: Toward “Purely Painterly Values”
			Herbert’s Still Life with a Bridle or a Lesson in Reading Paintings
		Metaphysical Realism: Miłosz and “the Dutch, Who Liked to Paint Still Life”
			“Realistic” Genres
			Realism against Classicism: “Longing for Perfect Mimesis”
			Epiphany of a Watering Can
			Pan Tadeusz, the Szetejnie Manor, and Dutch Still Lifes
	Chapter Four: Portrait
		Trouble with Subjectivity in Poetic Reflections on Seventeenth-century Dutch Portraits
			Painter of the Gaze: Różewicz’s Hals
			Rembrandt under Grochowiak’s Scalpel
			Status of the Portrayed
		The Painter’s Human Face: Rembrandt’s Self-Portraits in the Mirror of Literature
			Rembrandt’s “Painted Autobiography” by Guze
			Rembrandt in Różewicz’s Mirror
			Rembrandt Covering a Mirror: Herling-Grudziński Argues with Alpers
		Conclusion
Part II Zbigniew Herbert’s Little Masters:
A Reconstruction
	Introduction
		“An Extremely Subjective History of Art”
		Origins of the Notion Petits Maîtres
		History of Art from an Amateur’s Perspective
	Chapter One: Willem Duyster: “The Painter of Great Proustian Melancholy”
		“The Rehabilitation Process”
		Dolce Far Niente
		“A Mature Melancholy”
	Chapter Two: Pieter de Hooch as “A Home Poet”
		A Painter of Bourgeois Interiors
		“Home as the Moral Cosmos”
	Chapter Three: Hendrick Avercamp as “The Painter of the Fourth Season”
		Avercamp–Brueghel and the Flemish Landscape Tradition
		Contribution to Avercamp’s Biography
			Winter Landscape with Skaters: Exercises in Ekphrasis
		“A Little Excursion into the Field of Dutch Hibernation Customs”
		Naivety or “Respect for Reality”
	Chapter Four: Hercules Segers as “The Last Mountain Visionary in the Netherlands”
		“The Discovery” of Segers
		History of Influence
		Writer’s Sensitivity
	Chapter Five: Pieter Saenredam as “a Portraitist of Architecture”
		Saenredam’s “Perspectives”
		Workshop Secrets
		Against Abstraction
			Et Exaltavit Humiles
		Conclusion
Series Index