![]() For by day vice, looking outside of itself and conforming its attitude to others, 101 is abashed and veils its emotions, and does not give itself up completely to its impulses, but oftentimes resists them and struggles against them but in the hours of slumber, when it has escaped from opinion and law, and got away as far as possible from feeling fear or shame, it sets every desire stirring, and awakens its depravity and licentiousness. In such a state do envy, fear, temper, and licentiousness put a man. When grief o'ertakes me as I close my eyes, Now the same condition existing in human affairs deceives most people, who think that, if they surround themselves with vast houses, and get together a mass of slaves and money, they shall live pleasantly. 1 But a pleasant and happy life comes not from external things, but, on the contrary, man draws on his own character as a source 2 from which to add the element of pleasure and joy to the things which surround him. ![]() This exhibition includes prints by Rembrandt, Adriaen van Ostade, and Jacob van Ruisdael.Plutarch's essay on Virtue and Vice is an excellent sermon which has not been overlooked by Christian preachers.Ĭlothes are supposed to make a man warm, not of course by warming him themselves in the sense of adding their warmth to him, because each garment by itself is cold, and for this reason very often persons who feel hot and feverish keep changing from one set of clothes to another cbut the warmth which a man gives off from his own person the clothing, closely applied to the body, confines and enwraps, and does not allow it, when thus imprisoned in the body, to be dissipated again. A complementary exhibition of seventeenth-century Dutch prints installed in the gallery with Virtue, Vice, Wisdom & Folly historicizes this tradition, enabling viewers to consider the connections between morality and emerging market economies in seventeenth-century Holland and nineteenth-century America. Moralizing in art was far from a nineteenth-century invention. Moralizing in the Age of Rembrandt: Dutch Prints from the Ackland Art Museum ![]() Visitors will learn more about the artists, look for “clues” or specific images depicted in the paintings, and listen to music that corresponds to the paintings. By exploring the ways that American values became codified in the nineteenth century, we can better understand how moral traditions informed notions of a national character that continue to reverberate through our own society today.Ī section of the exhibition gallery will be reserved for interactive experiences for children and adults. Their images were shaped by historical phenomena such as the Civil War, industrialization, and immigration, and were marked by a desire to communicate moral principles such as diligence, self-reliance, and piety. Artists focused on subjects ranging from country and city life to gender, politics, and race. ![]() But rather than recording specific incidents from the lives of real people, these images are intended to provide moral instruction while appealing to the sympathies and experiences of a growing middle-class audience.įeaturing paintings and prints by William Sidney Mount, Lilly Martin Spencer, Winslow Homer, Eastman Johnson, and others, this exhibition explores the themes of virtue, vice, wisdom, and folly that dominated nineteenth-century American genre art. Genre paintings and prints depict scenes from everyday life: chores, social gatherings, political rallies, holidays, and street life. These might be snapshots from our own time, but they are also genre images from the nineteenth century. Two men play a game of cards, a young woman awaits the arrival of a suitor, and a group of townspeople enjoy a holiday parade. A husband struggles home in the rain from a trip to the market. A child takes his first steps under the watchful eyes of his parents and grandfather.
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