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To browse Academia. This study re-evaluates the work of David III Ryckaert, a seventeenth-century Flemish painter, challenging the notion of originality that has often undermined his artistic contributions. It emphasizes the importance of context in understanding Ryckaert's paintings, considering the influences of contemporaneous artists and the art market dynamics he navigated.
Archival research reveals insights into his collaborations with art dealers, reflecting on his works' valuation and the impact of imitation in his artistic practice. This thesis in two volumes is a study of the paintings of David ill Ryckaert Ryckaert grew up in a family of artists, and painted within a close community of fellow artists. According to several twentieth-century critics, Ryckaert was no more than a minor imitator of other Flemish painters. Underlying such relegation of Ryckaert is an uncritical and distinctly Modernist glorification of originality, or merely novelty.
The chief argument of this thesis is that a careful reconstruction of the socio-cultural circumstances ofRyckaert's work calls into question the destructive employment of originality as a criterion of artistic greatness.
Much of the vocabulary of Flemish art of the time was established. Artists thus proved their excellence both to fellow painters and a public fully conversant with the artistic traditions of subject and style, if such pictorial conventions were notably refmed or treated with a remarkable grace.