The study analyzes differentiated concepts of truth in Dutch prints of the 16th and 17th centuries. Against the backdrop of religious and political crises of the time, it elaborates on how copperplate engravings and etchings not only represent veritas but, by problematizing their own medial status, reflect on visual forms of evidence generation and art’s specific capacity for truth. Source
In the last century, the emergence of a more critical historical discipline initially generated a distancing from events and event-based history in favour of long-term processes. Art history, for its part, has primarily approached events by focusing on the hierarchy of subjects and, more specifically, historical painting. More recently, various historiographical currents in both disciplines have re-examined the event as a historical and artistic object, questioning the very notion of event and the various aspects...
