Rembrandt, Lievens, Dou
Imagining artistic friendship
äºNetherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineSearch for other papers by H. Perry Chapman in
Current site
Google Scholar
Taking license from Just Kids, Patti Smithâs 2010 memoir of her youthful, intense working friendship with photographer Robert Mapplethorpe, this essay examines Rembrandtâs artistic friendships with his colleague Jan Lievens, and his first pupil, Gerrit Dou. The burst of competitive, extreme co-creativity of Rembrandt and Lievens during their Leiden years comes to a head in their rendering of the raising of Lazarus; its strains are evident in Rembrandtâs Oriental heads. The life-long, seemingly more sustained friendship of Rembrandt and Dou is encapsulated in Dog at rest, Douâs homage to his master as exemplary teacher. These two working relationships point not only to the power of artists serving as each otherâs muses, but also to the need for further investigation into the value, and exploitation, of friendships for Rembrandt.
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| å ¨é¨æé´ | è¿å»ä¸å¹´ | è¿å»30天 | |
|---|---|---|---|
| æè¦æµè§æ¬¡æ° | 634 | 79 | 9 |
| å ¨ææµè§æ¬¡æ° | 40 | 5 | 0 |
| PDFä¸è½½æ¬¡æ° | 117 | 13 | 1 |
Rembrandt, Lievens, Dou
Imagining artistic friendship
äºNetherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek OnlineSearch for other papers by H. Perry Chapman in
Current site
Google Scholar
PubMed
Taking license from Just Kids, Patti Smithâs 2010 memoir of her youthful, intense working friendship with photographer Robert Mapplethorpe, this essay examines Rembrandtâs artistic friendships with his colleague Jan Lievens, and his first pupil, Gerrit Dou. The burst of competitive, extreme co-creativity of Rembrandt and Lievens during their Leiden years comes to a head in their rendering of the raising of Lazarus; its strains are evident in Rembrandtâs Oriental heads. The life-long, seemingly more sustained friendship of Rembrandt and Dou is encapsulated in Dog at rest, Douâs homage to his master as exemplary teacher. These two working relationships point not only to the power of artists serving as each otherâs muses, but also to the need for further investigation into the value, and exploitation, of friendships for Rembrandt.
| å ¨é¨æé´ | è¿å»ä¸å¹´ | è¿å»30天 | |
|---|---|---|---|
| æè¦æµè§æ¬¡æ° | 634 | 79 | 9 |
| å ¨ææµè§æ¬¡æ° | 40 | 5 | 0 |
| PDFä¸è½½æ¬¡æ° | 117 | 13 | 1 |
