"The art historian after Erwin Panofsky and Ernst Gombrich is not only participating in an activity of great intellectual excitement; he is raising and exploring issues which lie very much at the centre of psychology, of the sciences and of history itself. Svetlana Alpers's study of 17th-century Dutch painting is a splendid example of this excitement and of the centrality of art history among current disciples. Professor Alpers puts forward a vividly argued thesis. There is, she says, a truly fundamental dichotomy between the art of the Italian Renaissance and that of the Dutch masters. . . . Italian art is the primary expression of a 'textual culture, ' this is to say of a culture which seeks emblematic, allegorical or philosophical meanings in a serious painting. Alberti, Vasari and the many other theoreticians of the Italian Renaissance teach us to 'read' a painting, and to read it in depth so as to elicit and construe its several levels of signification. The world of Dutch art, by the contrast, arises from and enacts a truly 'visual culture.' It serves and energises a system of values in which meaning is not 'read' but 'seen, ' in which new knowledge is visually recorded."--George Steiner, "Sunday Times"
"There is no doubt that thanks to Alpers's highly original book the study of the Dutch masters of the seventeenth century will be thoroughly reformed and rejuvenated. . . . She herself has the verve, the knowledge, and the sensitivity to make us see familiar sights in a new light."--E. H. Gombrich, "New York Review of Books"
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评分作者自诩这本书可以看做是对《词与物》17CE一章图像方面的一次补充。总体架构依然是与意大利文艺复兴之间的对立，也许有过分generalization的地方。谈地图及lenses与绘画之间的关系两章最有启发。
评分从阿尔贝蒂的透视到潘诺夫斯基的图像学，除了意大利模式以外，艺术史是否还有其他的书写可能？置于这样的学术史脉络中，方才理解作者的勇气，尽管在细节方面会有框架先行之感，但是，不能否认它的意义。
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评分Groundbreaking
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