Art historian Peter Hecht shares his philosophy and methods of interpreting art.

Listening to What You See brings together more than twenty-five scholarly essays, reviews, and shorter contributions by Peter Hecht, preceded by an introduction on what he thinks his life in art history has taught him. The title indicates what his collected papers have in common: together they represent an attitude of listening to what you see. Hecht is very suspicious of applying a method and believes that looking at an image until it speaks is essential to understanding it. Apart from a few scholarly reviews, Listening to What You See also contains a sample of Hecht’s writings for the public at large, and some of his best-known critical papers are included here. It covers a range of different topics, including defending public art collections, showing what art can mean in times of crisis when it is not accessible (as was the case when Covid forced the museums to shut down), and talking about what art may do for us–provided that we listen.

In Slavery and the Invention of Dutch Art, Caroline Fowler examines the fundamental role of the transatlantic slave trade in the production and evolution of seventeenth-century Dutch art. Whereas the sixteenth-century image debates in Europe engaged with crises around the representation of divinity, Fowler argues that the rise of the transatlantic slave trade created a visual field of uncertainty around picturing the transformation of life into property. Fowler demonstrates how the emergence of landscape, maritime, and botanical painting were deeply intertwined with slavery’s economic expansion. Moreover, she considers how the development of one of the first art markets was inextricable from the trade in human lives as chattel property. Reading seventeenth-century legal theory, natural history, inventories, and political pamphlets alongside contemporary poetry, theory, and philosophy from Black feminism and the African diaspora, Fowler demonstrates that ideas about property, personhood, and citizenship were central to the oeuvres of artists such as Rembrandt van Rijn, Hercules Segers, Frans Post, Johannes Vermeer, and Maria Sibylla Merian, and therefore inescapable from slavery’s reach.