Angela Vanhaelen is Associate Professor and Chair of the Department of Art History and Communication Studies at McGill University. Her publications include The Wake of Iconoclasm: Painting the Church in the Dutch Republic (2012).Bronwen Wilson is Professor and Head of World Art Studies and Museology at the University of East Anglia. Her publications include The World in Venice: Print, the City, and Early Modern Identity (2005).

• 6 Notes on Contributors8 Chapter 1 The Erotics of Looking: Materiality, Solicitation and Netherlandish Visual CultureAngela Vanhaelen and Bronwen Wilson20 Chapter 2 Beer and Loafing in AntwerpBret Rothstein42 Chapter 3 Perspectives in Flux: Viewing Dutch Pictures in Real TimeCeleste Brusati68 Chapter 4 Entropic SegersChristopher P. Heuer92 Chapter 5 The Turn of the Skull: Andreas Vesalius and the Early Modern Memento MoriRose Marie San Juan110 Chapter 6 Laying the Table: The Procedures of Still LifeJoanna Woodall138 Chapter 7 Boredom’s Threshold: Dutch RealismAngela Vanhaelen158 Chapter 8 Response: Art/Matter(s)Larry Silver170 Chapter 9 Response: On the Impulse of Mapping, or How a Flat Earth Theory of Dutch Maps Distorts the Thickness and Pictorial Proclivities of Early Modern Dutch Cartography (and Misses Its Picturing Impulse)Benjamin Schmidt184 Chapter 10 Response: Reflections on Temporality in Netherlandish ArtLyle Massey192 Chapter 11 Response: The Work of RealismBronwen Wilson209 Index

“I highly recommend the ground breaking and landmark book http://www.wiley.com/WileyCDA/WileyTitle/productCd-1118465253,subjectCd-AA12.html"The Erotics of Looking: Early Modern Netherlandish Art edited by Angela Vanhaelen, Ph.D., and Bronwen Wilson, Ph.D., to any students of art and art history, academics in the field, art gallery owners and managers, art collectors and dealers, and to anyone interested in the power of the senses and sensuality found in the interaction between artist and viewer. This book will transform the way the artists of the early modern Dutch period approached their vision, their works, and their engagement with the viewer of the paintings.”  (Blog Business World, 16 August 2013)