摘要:This paper focuses on Painter with Pipe and Book (ca. 1650) by Gerrit Dou, a painter much admired by an exclusive circle of elite collectors in his own time. By incorporating a false frame and picture curtain, Dou transformed this work from a familiar "niche picture" into a depiction of a painting composed in his signature format. Drawing on anthropologist Alfred Gell's concepts of enchantment and art nexus, I analyze how such a picture would have mediated the interactions between artist, owner, and viewer, enabling each agent to project his identity and shape one another's response. I thus treat the painting as the center of a complex web of social relations formed in the specific setting of early modern collecting