Abstract
A fundamental concept for philosophy, boredom is a recurrent term of analysis in the art-historical literature on Dutch realism. Assessing a number of key texts, this essay provides an account of how the rhetoric of boredom functions in discussions of Dutch painting, providing critical insights into realism's complex mode of being attuned to the world and generating influential narratives about the emergence of a modern subject who vacillates between bored alienation and attentive critical engagement.
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