Vermeer's Hat by Timothy Brook is not truly about Vermeer, or hats, or art for that matter. It really is a book about globalization sixteenth century-style. Working with components from a handful of of the Dutchman's paintings - plus some others from the period - the author identifies evidence of global trade, of the economic history of a century that saw the opening up of commerce on a scale the planet had previously not known. And unlike the far more academic studies of Wallerstein or Gunder Frank, Timothy Brook's book is accessible even to the casual reader. Its strategy is highly original its style is lucid and clear its scholarship is nothing at all less than phenomenal.
Early on in the text the author reminds us of the fundamental distinction amongst the passing image and the narrative of art. 'Paintings are not "taken", like photographs' Timothy Brook writes, 'they are "made", carefully and deliberately and not to show an objective reality so significantly as to present a certain scenario.' Objects in a painting are there for a reason.
They are element of a narrative or comment that the artist chooses to relate, possibly consciously. Our tasks as observers are partly to interpret as well as respond, as well as merely see. And make no mistake, the process is intellectual, not just aesthetic. With an admirable eye for detail, Timothy Brook thus analyses seventeenth century paintings for evidence of international trade. But this is only a beginning point for a genuinely global tour.
A beaver hat, for instance, leads him to relate the story of how French expeditions into Canada sought pelts to feed demand for high fashion in Europe. It was the beaver's fortune - or possibly misfortune - to be born with a fur that, when transformed into felt, remained waterproof, and hence kept its shape in the rain. The consequences of this trade - apart from the obvious ones for the beavers - included conflicts with indigenous individuals, followed by subjugation and, in some situations, annihilation.
A Chinese vase, a Turkish carpet and other artefacts around the residence lead to the history. And in contrast to the far more academic scientific studies of Wallerstein or Gunder Frank, Timothy Brook's book is accessible even to the casual reader. Its approach is extremely original its style is lucid and clear its scholarship is absolutely nothing less than phenomenal.
Early on in the text the author reminds us of the fundamental distinction amongst the passing image and the narrative of art. 'Paintings are not "taken", like photographs' Timothy Brook writes, 'they are "made", carefully and deliberately and not to show an objective reality so significantly as to present a certain scenario.' Objects in a painting are there for a reason.
They are element of a narrative or comment that the artist chooses to relate, possibly consciously. Our tasks as observers are partly to interpret as well as respond, as well as merely see. And make no mistake, the process is intellectual, not just aesthetic. With an admirable eye for detail, Timothy Brook thus analyses seventeenth century paintings for evidence of international trade. But this is only a beginning point for a genuinely global tour.
A beaver hat, for instance, leads him to relate the story of how French expeditions into Canada sought pelts to feed demand for high fashion in Europe. It was the beaver's fortune - or possibly misfortune - to be born with a fur that, when transformed into felt, remained waterproof, and hence kept its shape in the rain. The consequences of this trade - apart from the obvious ones for the beavers - included conflicts with indigenous individuals, followed by subjugation and, in some situations, annihilation.
A Chinese vase, a Turkish carpet and other artefacts around the residence lead to the history. And in contrast to the far more academic scientific studies of Wallerstein or Gunder Frank, Timothy Brook's book is accessible even to the casual reader. Its approach is extremely original its style is lucid and clear its scholarship is absolutely nothing less than phenomenal.
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