| Summary: | 碩士 === 國立臺灣師範大學 === 美術學系 === 106 === In the 17th century, a large number of winter landscapes emerged in the Netherlands. The quality and themes were so unique, almost no other region or era can compare with it. Spent almost entire life devoted himself to winter landscapes, Hendrick Avercamp (1585-1634) became a representative painter of the winter landscape painting in the era.
The winter landscape of Hendrick Avercamp had both features of genre painting and Landscape painting since he not only depicting winter scenes but also drew countless human activities in the landscape. This dissertation begins with the history and development of winter landscapes, then gradually sorts out and analyzes the development of the style of Avercamp’s paintings. At the same time, I use culture activities, geographic information, and painting theory in the 17th century Netherlands to analyze and compare with the elements in the paintings. Finally, I discuss the relationship between painting and the climate change through climate data of the Little Ice Age.
The climate change and ravages during the Little Ice Age had partially affected the development of the winter landscape and the content of the images, whereas the metaphysical concept of the world and visual tradition played a more important role. Avercamp used countless anecdotes to create a unique winter scene and built out the northern character of south flemish tradition. As Karel van Mander's painting theory and the "divine nature" promoted by the Calvinists, no matter it was good or bad, rich or poor, real or fictional, Avercamp's paintings reflect the society of the 17th century Netherlands as a clear mirror. Avercamp collected the world into his paintings, created a universal winter landscape as an encyclopedic illustration. That is why his work continues to dominate our impression on the winter scene of the Netherlands until now.
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