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17th to 20th century art
The effects of trade in the world around the 1600
The effects of trade in the world around the 1600
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Recommended: 17th to 20th century art
Name :MD I HOSSIN Professor: Andrea Boffa
Course Name : HIST 108G Date: 02/26/2017
ART AND GLOBALIZATION IN THE SEVENTEENTH CENTURY Timothy Brook’s remarkable book blends art with the emergence of global trade in the seventeenth century. Using six paintings of Dutch Golden Age painter Johannes Vermeer, the writer examines the impact of changing international relations, particularly in the realm of trade, on art. The title chapter of the book discusses the painting called Officer and the Laughing Girl and analyzes how the painting opens up window to the global trade connections of the seventeenth century. According to the author, a painting is different from a photograph in that the former is a deliberate attempt of the painter to not
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It is unique in a sense that it does not talk about the direct impact of the changing international trade scenario on art, which is what is usually done, but discusses the indirect impact of this trade on the art. For example, the immediate cause of the felt hat in the painting was the prevailing hat style in the Dutch society which underwent various changes through the seventeenth century. But the felt hat made of beaver fur would probably not be found in the painting had the Europeans not successfully negotiated beaver fur trade with the Native Americans. This success caused increase in the production of these hats in Europe which gave rise to a fashion statement and a status symbol, a display of which we see in the …show more content…
What drove Champlain’s onward march was his ultimate desire to find a secure route to China. China had always fired the western imagination as a land of abundance and opportunity. The known trade routes around Africa and South America were not only long but also patrolled by the enemies. Champlain hoped to find a land route to China travelling across the North America. He did not succeed but his endeavors allowed him to establish a monopoly over the beaver fur trade in Europe. It was this trade of felt hats made of beaver fur that eventually became a feature of Vermeer’s
Vermeer’s Hat offers a unique look at the rise of global trade through Brook’s eyes. Brook uses each of the paintings to describe to the audience a different picture of how the world began progressing. Most think of Vermeer as an isolated artist, with no real connection to the world outside of the walls of his mother-in-law’s house. However, as Brook shows us throughout the story, this could not be further from the truth. Brook relies on the paintings to interpret the rise of global trade to show the audience how architecture has contributed to the rise of global trade, how specific objects in the paintings related to trade, and how geography influenced trade.
Champlain was basically a sea man by birth. He was born into a family of sea captains and his father was a really good and experienced sea captain. His uncle went with him on his first trip. When he was a little boy, his hometown was filled to the gills with docks and huge ships which encouraged his love of boats and exploring. He also had to work for King Henry and do many other things containing maps and boats. He found the love of sailing and exploring because he had very good motivational things to push him along his journey.
Champlain’s first voyage trip was with his uncle-in-law, Saint Julien, a great navigator and sea voyageur. Julien was transporting Spanish soldiers to Cadiz in the pursuit of a treaty with the Vervins. Champlain got an opportunity to accompany his uncle for his first navigation trip. He made another voyage to West Indies and Mexico. In any navigation he made, he took notes, learnt new things and submitted a report to King Henry. He legally acquired the voyage ship and property after his uncle died leaving Champlain financially stable to make further exploration works. He served in the king’s court as a geographer. His first trip to the Northern America was to observer trade expedition that the King had assented to him. He met François Grave, a great navigator and ship captain who taught him what navigation in the North America entailed. Champlain drew Saint Lawrence on a map after his trip. Champlain established many settlements such as Acadia and P...
Since the early seventeenth century, French explorers had been able to keep peaceful relations with the Native Americans as a result of fur trading. Samuel de Champl...
Fur trading started between the Europeans along with the Aboriginals when the most valuable beaver pelts was a substituted for metal and clothing goods such as iron knives and axis, copper kettles, blankets and trinkets. The beaver pelts were well desired by the Europeans for the reason that using this fur for headgear provided an elegant way to keep dry. However these pelts were for fashion, as men and women could be instantly noted within the social hierarchy by according to their beaver hats. It was so valuable that the sand on the floor was filtered to save every hair that has fallen off. For the Europeans, captivating advantages of the rich furs from the Indians in the New World was a major factor in generating handsome profits, and there is no other pelt exchanging business enterprise like the Hudson's Bay Company. It is the oldest venture of Canada and it inspired many by its domination in the fur trading industry during its early years. They equipped their own armies, minted its own coins and even issued its own medals. The company had controlled fully one-third of present-day Canadian territory and were thought by many as a kingdom by itself in the fur industry. They had trading posts from the very north Arctic Ocean to Hawaii and as far south as San Francisco. HBC's revenue didn't generate simply from this one way trade in furs to Europe; it also consists of large amounts of European goods to North America. These goods incorporated many other products that local people cannot construct such as gunpowder, bullets, weapons, tobacco, kettles, pots, beads, fishing hooks, needles, scissors, and so much more. The Hudson's Bay Company showed a great measure of success since its formation, but it didn't come without s...
Another key resource in the attraction to Canada was the fur that was available. In the 17th and 18th century, fur was in high demand in Europe. Fur pelts were seen as fashionable, and of high value at the time. Beavers were a main provider of fur pelts, and were decreasing in amount within Europe, due to the high demand and mass production of these fur pelts in Europe. This relates to why the Europeans were very motivated to trade with Canadians, as these fur pelts would have been of high value and demand in Europe, creating a boost in the economy and profit for the merchants. In Europe around 1600, North American fur was also seen as of higher quality than European fur, thus concluding that in many ways North American fur was of a greater value and ‘superior’ to fur originating in Europe. These were main reasons that
France pushed westward in pursuit of its one valuable resource, the beaver. European fashion setters valued beaver fur hats for their warmth and luxurious appearance. Demands for the fur grew. French voyageurs even recruited Indians into the fur business in order to help with the hunt. French fur-trappers and their Indian partners ranged from all over North America in pursuit of the beaver. They hiked, rode, snow shoed, sailed, and paddled across astonishing distances and ever deeper into the heart of the continent.
The French were one of the first to explore the New World in the last half of the 16th century. King Henry IV of France sent an expedition, led by Samuel de Champlain, to secure exclusive fur trade routes and agreements with the native Indians near the St. Lawrence in present day Canada. In this endeavor, trading posts were built in an area known as “New France”. The native Montagnais tribe were quick to realize the importance the French and other Europeans placed on beaver pelts and for their own benefit, they began “withholding furs to force the Europeans to compete for them” (Anderson, 8). Eventually, the French and the Montagnais’ came to an understanding through an alliance that gave the French exclusive control of the fur trade in exchange for their promise to fight with the Montagnais and their allies against their enemies, the Mohawks.
On Saturday, March 15, 2014, I visited the Metropolitan Museum in New York. The gallery #753, which is a part of so-called American Wing, features oil paintings of the revolutionary period in America. The paintings seen in this gallery celebrate heroes and hard-fought battles of the new nation. The most popular type of painting of that time remained portraiture. Portraits in extremely large numbers figured in interiors, where they were arranged to convey not only domestic, but political messages as well. Hence, it is natural, that such iconic figure like George Washington became a model for numerous artists of that era, including Gilbert Stuart and Charles Willson Peale, for whom Washington actually sat. Two exceptional portraits of Washington, the general and the the first President of the United States are highlighted in this paper.
Exploration was economically, politically, and religiously motivated. All explorers had an objective before embarking on their voyages; however, not all explorers went about their expeditions the same. Christopher Columbus described in his journal how his main goal was to aid himself and Spain by treating the Natives and their lands that he encountered as a means to profitable goods. Samuel de Champlain had contrasting ideas, and he allied himself with certain tribes giving the French additional control. Champlain’s friendliness, concern, and cooperation with the natives took him past the economic dealings and into a more trustworthy relationship.
In the article “Conditions of Trade,” Michael Baxandall explains the interaction serving of both fifteenth- century Italian painting and text on how the interpretation of social history from the style of pictures in a historical period, pre-eminently examine the early Renaissance painting. Baxandall looks not only on the explanation of how the style of painting is reflected in a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the central focus on markets, material visual practices, and the concept of the Renaissance period overlooking art as an institution. He observes a Renaissance painting, which relate the experience of activities such as preaching, dancing, and assessing. The author considers discussions of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies concepts used in contemporary critic of the painting, and in the assembled basic equipment needed to discover the fifteenth- century art. Therefore this introductory to the fifteenth- century Italian painting and arise behind the social history, argues that the two are interconnected and that the conditions of the time helped shape the distinctive elements in the artists painting style. Through the institutional authorization Baxandall looks at integration in social, cultural and visual evaluation in a way that shows not only the visual art in social construction, but how it plays a major role in social orders in many ways, from interaction to larger social structural orders.
In the article “Conditions of Trade,” Michael Baxandall explains that fifteenth-century Italian art is a “deposit” resulting from the commercial interaction between the artist and the purchaser, who he refers to as a client. These works, as such, are “fossils of economic life,” and money, and they play an important role in the history of art. In our current perception of the relationship between the artist and art, “painters paint what they think is best, and then look around for a buyer” . However in the past, especially during the Renaissance period, the customers determined the content and form of paintings, as it was them who commissioned the work before it was created. He states that the artists and clients were interconnected and a legal agreement was drawn up specifying subject matter, payment scheme and the quality and quantity of colors, which would influence the artist’s painting style. Baxandall not only looks at the explanation of the style of painting that reflects a society, but also engages in the visual skills and habits that develop out of daily life. The author examines the situations between the painter and client within the commercial, religious, perceptual, and social institutions, centrally focusing on markets, materials, visual practices, and the concept of the Renaissance period, which saw art as an institution. Baxandall notes that Renaissance paintings also relate to the clients’ motives through such ways as possession, self-commemoration, civic consciousness, and self-advertisement. The author considers works of a wide variety of artistic painters, for instance, Filippo Lippi, Fra Angelico, Stefano di Giovanni, Sandro Botticelli, Luca Signorelli, and numerous others. He defines and exemplifies fiftee...
“Philosophers, writers, and artists expressed disillusionment with the rational-humanist tradition of the Enlightenment. They no longer shared the Enlightenment's confidence in either reason's capabilities or human goodness.” (Perry, pg. 457) It is interesting to follow art through history and see how the general mood of society changed with various aspects of history, and how events have a strong connection to the art of the corresponding time.
The shift between the Middle Ages and Renaissance was documented in art for future generations. It is because of the changes in art during this time that art historians today understand the historical placement and the socio-economic, political, and religious changes of the time. Art is a visual interpretation of one’s beliefs and way of life; it is through the art from these periods that we today understand exactly what was taking place and why it was happening. These shifts did not happen overnight, but instead changed gradually though years and years of art, and it is through them that we have record of some of the most important changes of historic times.
O’Donnell, Sr., Joseph J.. “Art and the French Revolution”. The Eerie Digest, May 2013. Web. 5th May 2013.