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Edward H. Wouk

dozen startlingly direct paintings that stand apart even in a Netherlandish tradition famed for its portraiture. 6 Floris’s life-size subjects, such as Woman with a Dog (fig. 6.24; cat. P.130), confront us directly. The dim, mottled, and thinly painted background serves to propel the sitter into the

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Edward H. Wouk

one portrait of Niclaes Jonghelinck has come down to us, but Carl Van de Velde and Iain Buchanan have uncovered a wealth of documentary evidence about his life and mercantile activities. 11 Jonghelinck was born in Antwerp in 1517 and died there suddenly in 1570. 12 Although untitled, his family

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Andrew T. Coates

was raised a Catholic and became a self-described atheist in later life. Any potential “Protestant” qualities of the painting certainly did not stem from the artist’s personal religious convictions. Tillich was instead speaking about the painting’s style as being deeply aligned with Protestant

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Edward H. Wouk

-breaking and image removal were multi-faceted phenomena, and the fate of Floris’s art in the violence of 1566 is a complex matter that has never been thoroughly explored. Scholars now contend that the Iconoclasm, while perhaps theologically motivated, was more orderly and focused in nature than the writings of

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Donna L. Sadler

, for these large polyptychs are inhabited by a teeming group of figures that enact the entire Passion of Christ or scenes from the life of the Virgin (Figs. 1–2). The resulting tableaux vivants invite the viewer to suspend disbelief and enter the sculptural micro-drama. The carved figures beckon one

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Edward H. Wouk

theoretical concepts. 8 Their ideas may have motivated Floris’s decision to decorate his house, possibly influencing the cycle he painted on its façade and in particular its focus on the depiction of the visual artist as practitioner of a liberal art equal to that of poets. 9 What is arguably most striking

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Mateusz Tokarski

that could place one in awe of nature, motivating respect, love, and caring genuinely for something other than humans. This seems to be lost once animals become too tamed. What is more, to claim that recolonizing animals are “all about” being wild is to make a claim regarding their proper nature, which

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Anna Filipowicz

for a life infinitely fuller, more unpredictable and, in many ways, more surprising: for example, when culture, under the influence of the forces of nature that govern our entire existence, ​​becomes an arena of rivalry in terms of the biological survival instinct forged during the course of evolution

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Dorota Łagodzka

their guidelines were, and how the central concepts of those exhibitions related to animals as living beings. I am also interested in how a curatorial concept of a collective art exhibition perceives, presents, and shapes the place of animals in art and what we mean by an “animal art exhibition.” I

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Bartłomiej Szleszyński

, animals are extremely important in this text of culture, as they are the main point of reference considering the humanity. To some extent, this game provides a statement on the contemporary people-animal relationship. It is not a rule in the post-apocalyptic texts—plant and animal life may be removed on