Voor veel negentiende-eeuwse Franse kunstenaars, schrijvers en verzamelaars had de naam Rembrandt een magische klank. Kunstenaars en critici beschouwden zijn werk en artistieke persoonlijkheid als ...maatgevend en gebruikten dat beeld ter rechtvaardiging van hun eigen doeleinden. Sommigen reconstrueerden Rembrandt zelfs tot een mythische figuur die hen ter inspiratie en tot voorbeeld diende.
A Network of Iconography Li, Weixuan
Early modern low countries,
12/2021, Letnik:
5, Številka:
2
Journal Article
Recenzirano
This article demonstrates how an expanding population of artists in the seventeenth-century Dutch Republic was connected artistically, and how such connections were translated into artistic ...innovations that fuelled the rapid flourishing of Dutch arts and the art market. It does so by conceptualising and visualising an art-historical network of iconography that, for the first time, connects artists not through social relations but through shared subject matters. Using network analysis, this study revisits the definition of product innovations used by the socio-economic art historian John Michael Montias. It further demonstrates that painters’ choices of subject matter, styles, and qualities were often unrelated while artists’ thematic connections had little to do with their social relations and the location of their residence. Rather, the choices of subject matter were subject to market forces and rooted deeply in an artist’s ability, ambition, and marketing strategy. Lastly, this article visualises the artistic network implied in Rembrandt’s rivals by Eric Jan Sluijter, which helps explain the breakaway success of the Dismissal of Hagar paintings.
A Network of Iconography Weixuan Li
Early modern low countries,
12/2021, Letnik:
5, Številka:
2
Journal Article
Recenzirano
Odprti dostop
This article demonstrates how an expanding population of artists in the seventeenth-century Dutch Republic was connected artistically, and how such connections were translated into artistic ...innovations that fuelled the rapid flourishing of Dutch arts and the art market. It does so by conceptualising and visualising an art-historical network of iconography that, for the first time, connects artists not through social relations but through shared subject matters. Using network analysis, this study revisits the definition of product innovations used by the socio-economic art historian John Michael Montias. It further demonstrates that painters’ choices of subject matter, styles, and qualities were often unrelated while artists’ thematic connections had little to do with their social relations and the location of their residence. Rather, the choices of subject matter were subject to market forces and rooted deeply in an artist’s ability, ambition, and marketing strategy. Lastly, this article visualises the artistic network implied in Rembrandt’s rivals by Eric Jan Sluijter, which helps explain the breakaway success of the Dismissal of Hagar paintings.
ABSTRACT When looking at two paintings, ostensibly by Rembrandt, is there an aesthetic difference in how these paintings are perceived if we know that one of the two paintings is a forgery? Most ...certainly, declared Nelson Goodman (1976). Knowledge of the difference would modify the aesthetic experience. When looking at Michelangelo’s Christ on the Cross, the result is arguably similar. What we see depends on what we know about Christ’s story. The same might also be said more generally about tragic narratives and their accompanying indicia. Awareness impacts viewers acutely. This is especially evident in curated Holocaust memorials, where the ghastly artifacts, and the unfathomable story lines, are intrinsic to their aesthetic force. This insight however is by no means limited to curated monuments. Learning that an artist, David Wojnarowicz for example, was a victim of inconceivable torment is no less critical to how their artworks are perceived. Our argument, in its totality, is that being informed is preferable to unknowing, and that knowing, however manifested, has the capacity of modifying visual perception.
When looking at two paintings, ostensibly by Rembrandt, is there an aesthetic difference in how these paintings are perceived if we know that one of the two paintings is a forgery? Most certainly, ...declared Nelson Goodman (1976). Knowledge of the difference would modify the aesthetic experience. When looking at Michelangelo’s Christ on the Cross, the result is arguably similar. What we see depends on what we know about Christ’s story. The same might also be said more generally about tragic narratives and their accompanying indicia. Awareness impacts viewers acutely. This is especially evident in curated Holocaust memorials, where the ghastly artifacts, and the unfathomable story lines, are intrinsic to their aesthetic force. This insight however is by no means limited to curated monuments. Learning that an artist, David Wojnarowicz for example, was a victim of inconceivable torment is no less critical to how their artworks are perceived. Our argument, in its totality, is that being informed is preferable to unknowing, and that knowing, however manifested, has the capacity of modifying visual perception.
Aloïs Riegl’s elucidations of visual particulars in his Dutch Group Portrait of 1902 are not in contrast to but rather inform his theory of the development of group portraiture. Riegl sought to ...explain the Kunstwollen or ‘will of art’ of Dutch group portraits, what they seek to do as art. Despite his errors, his approach is applicable to current interpretations, above all the riddle of Rembrandt’s Staalmeesters, and can thus serve, in a cumulative art historiography, as a means of ‘Vienna schooling’ Dutch art scholarship. Building on Riegl’s analysis, this paper proposes that after reaching an impasse in both his group sketch for and first painted composition of his Staalmeesters, Rembrandt made portrait studies of two sample masters in their account book, and revised his composition to show them responding to his drawings and looking out at him. He thereby embedded portraiture (Riegl’s ‘external unity’) at the heart of his narrative (‘internal unity’). As in his earlier group portraits, he displaced speech by sight and text by image, achieving what Riegl identified as his goal of interfusing the psyches or souls of the figures and the beholder, making them part of a moving, seeing, thinking whole. Rembrandt reflected on the development of his tradition and his own paintings, making his task in the process of portraiture into the subject of his painting, and thereby redeemed his relation to his tradition.
The article deals with the analysis of Osip Mandelstam’s poem “Like Chiaroscuro’s Martyr Rembrandt” (1937). It tries to interpret the central enigmatic images (“the eye of the falcon’s feather,” “hot ...caskets at midnight in the harem”), which have not been satisfactorily explained to date, and providing an example of a holistic interpretation of the text. The analysis also touches on the question of “light and shade” (or chiaroscuro) and the category of time and muteness. Critically reviewing the works of T. Langerak, O. Ronen, M.L. Gasparov and I.Z. Surat, the author offers his own understanding of the poem as a poetic statement about art in general and its effect on humans.
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