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Rembrandt â Studies in his Varied Approaches to Italian Art
Series: - Brill's Studies in Intellectual History, Volume: 317/48
- Brill's Studies on Art, Art History, and Intellectual History, Volume: 317/48
Author:
Rembrandt: Studies in his Varied Approaches to Italian Art explores his engagement with imagery by Italian masters. His references fall into three categories: pragmatic adaptations, critical commentary, and conceptual rivalry. These are not mutually exclusive but provide a strategy for discussion.
This study also discusses Dutch artistsâ attitudes toward traveling south, surveys contemporary literature praising and/or criticizing Rembrandt, and examines his art collection and how he used it. It includes an examination of the vocabulary used by Italians to describe Rembrandtâs art, with a focus on the patron Don Antonio Ruffo, and closes by considering the reception of his works by Italian artists.
This study also discusses Dutch artistsâ attitudes toward traveling south, surveys contemporary literature praising and/or criticizing Rembrandt, and examines his art collection and how he used it. It includes an examination of the vocabulary used by Italians to describe Rembrandtâs art, with a focus on the patron Don Antonio Ruffo, and closes by considering the reception of his works by Italian artists.
Amy Golahny is Richmond Professor Emerita at Lycoming College and Past President of the Historians of Netherlandish Art. She has published extensively on Pieter Lastman, Rembrandt, and other topics.
"Rembrandt himself never went to Italy, but his consciousness of Italian artists resonates throughout his work. That is the subject of this enlightening study by an accomplished scholar of Netherlandish art. Above all, the book reveals how Rembrandt drew ideas for his art from Italian masters, whose works were known to him primarily through prints, and transformed them into a distinct language of his own in a way that pays homage to his sources but with a twist of visual commentary [â¦] One can read the book as a series of essays or use it for reference with the benefit of its up-to-date bibliography. In sum: highly recommended." - C. W. Talbot, emeritus, Trinity University, in: Choice Reviews, Vol. 58, No. 10 (June 2021)
"This publication is sure to be a necessary resource for any scholar looking to understand one of the most fertile and creative minds of the seventeenth century and the numerous influences that contributed to his endlessly compelling oeuvre." - Jacquelyn Coutré, Art Institute of Chicago, in: Renaissance and Reformation, Vol. 44, No. 2 (2021), pp. 248â250
"This is a generous book, clearly aimed at sharing the wealth of information and knowledge Golahny has amassed over the years and at offering a solid, balanced foundation on which future generations may develop new analyses and interpretations. With its comprehensive bibliography, thorough citations, and even explicit guidance on how Golahnyâs discussions relate to the existing literature, it is a highly valuable reference for any student of Rembrandtâs work. Its ample illustrations support the authorâs visual arguments and make the book accessible to those less familiar with the material." - Joanna Sheers Seidenstein, Harvard Art Museums, in: HNA Reviews, November 2021
"An accessible and stimulating book. [Golahnyâs] informed, wide-ranging, sensitive, and above all intelligent presentation of ideas formed over the course of her career offers ample rewards for a variety of readers, those well versed in Rembrandt studies or new to them." - Catherine B. Scallen, Case Western Reserve University, in: Renaissance Quarterly, Vol. 76, No. 4 (Winter 2023), pp. 1491â1493
"This publication is sure to be a necessary resource for any scholar looking to understand one of the most fertile and creative minds of the seventeenth century and the numerous influences that contributed to his endlessly compelling oeuvre." - Jacquelyn Coutré, Art Institute of Chicago, in: Renaissance and Reformation, Vol. 44, No. 2 (2021), pp. 248â250
"This is a generous book, clearly aimed at sharing the wealth of information and knowledge Golahny has amassed over the years and at offering a solid, balanced foundation on which future generations may develop new analyses and interpretations. With its comprehensive bibliography, thorough citations, and even explicit guidance on how Golahnyâs discussions relate to the existing literature, it is a highly valuable reference for any student of Rembrandtâs work. Its ample illustrations support the authorâs visual arguments and make the book accessible to those less familiar with the material." - Joanna Sheers Seidenstein, Harvard Art Museums, in: HNA Reviews, November 2021
"An accessible and stimulating book. [Golahnyâs] informed, wide-ranging, sensitive, and above all intelligent presentation of ideas formed over the course of her career offers ample rewards for a variety of readers, those well versed in Rembrandt studies or new to them." - Catherine B. Scallen, Case Western Reserve University, in: Renaissance Quarterly, Vol. 76, No. 4 (Winter 2023), pp. 1491â1493
âPreface
âAcknowledgements
âList of Illustrations
1 Prologue: Setting the Stage
â1âWho Did, or Did Not, Travel to Italy
â2âDutch Artists Who Painted Italy at Second Hand
â3âJacob van Swanenburg and Pieter Lastman in Italy
â4âAdvice about Travel
â5âOn the Road in Italy: Nicholas Stone Jr.
â6âThe Material Evidence: Collecting Italian Art in Holland
â7âVan Manderâs Account of Remarkable Italian Paintings in Dutch Collections
â8âA Sampling of Amsterdam Collections: 1630â1660
â9âRembrandt at the Art Market
â10âA Contrast in Collecting: Joachim von Sandrart in Amsterdam and Bavaria
2 Attitudes: Critical, Admiring, and Curious toward Rembrandt
â1âRembrandtâs Acquaintances Condemn His Disregard for Italian Values: Huygens, Sandrart and De Lairesse
â2âPels, De Decker, and De Geest: Polarizing Attitudes
â3âRembrandtâs Singular Manner: Houbraken
â4âRembrandtâs Naturalism in Stefano della Bellaâs Model Books
â5âRembrandtâs Goal in Art
3 Rembrandtâs Collection and How He Used It: the Canonical and the Unusual
â1âDrawing from the Original: Mantegna, Leonardo, Raphael, Titian
â2âReminiscences and Variations
â3âLife Study Fused with Art
â4âSculpture as Substitute for Life Study
4 Pragmatic Solutions
â1âBorrowed Plumes Easily Disguised
â2âThe Supper at Emmaus of c. 1629
â3âRembrandt and the Madonna of the Rosary: Structuring the Stage
â4âJudas Returning the 30 Pieces of Silver: Caravaggio and Leonardo da Vinci
â5âTwo People in One Frame
5 Appropriating for Commentary: Rembrandtâs Critique of Titian, Raphael, and Leonardo
â1âChrist Driving the Money Changers from the Temple: the 1626 Painting and the 1635 Etching
â2âThe Hundred Guilder Print: Exploiting Raphael, Michelangelo, Leonardo
6 Appropriation and Deviation: Responding for Alternatives
â1âDiana and Actaeon with Callisto and Nymphs: Referencing the Italians
â2âThe Flute Player and Flower Girl: an Alternative to Titian
â3âThe Female Nude
7 Rembrandt Perceived by the Italians: Castiglione, the Ruffo Collection, and La Maniera Gagliarda
â1âGiovanni Benedetto Castiglione: Inspired Improvisations
â2âRembrandtâs Ruffo Series
â3âAbraham Brueghelâs Intermediary Role in the Ruffo Commissions
â4âGuercino: Business-like, Efficient, and Respectful
â5âPreti: Grudging Accommodation
â6âSalvator Rosa: Independent, Arrogant, and Uncooperative
â7âBrandi: Eager to Please
â8âLa Maniera Gagliarda
â9âBaciccio: the Last Word
Bibliography
âAcknowledgements
âList of Illustrations
1 Prologue: Setting the Stage
â1âWho Did, or Did Not, Travel to Italy
â2âDutch Artists Who Painted Italy at Second Hand
â3âJacob van Swanenburg and Pieter Lastman in Italy
â4âAdvice about Travel
â5âOn the Road in Italy: Nicholas Stone Jr.
â6âThe Material Evidence: Collecting Italian Art in Holland
â7âVan Manderâs Account of Remarkable Italian Paintings in Dutch Collections
â8âA Sampling of Amsterdam Collections: 1630â1660
â9âRembrandt at the Art Market
â10âA Contrast in Collecting: Joachim von Sandrart in Amsterdam and Bavaria
2 Attitudes: Critical, Admiring, and Curious toward Rembrandt
â1âRembrandtâs Acquaintances Condemn His Disregard for Italian Values: Huygens, Sandrart and De Lairesse
â2âPels, De Decker, and De Geest: Polarizing Attitudes
â3âRembrandtâs Singular Manner: Houbraken
â4âRembrandtâs Naturalism in Stefano della Bellaâs Model Books
â5âRembrandtâs Goal in Art
3 Rembrandtâs Collection and How He Used It: the Canonical and the Unusual
â1âDrawing from the Original: Mantegna, Leonardo, Raphael, Titian
â2âReminiscences and Variations
â3âLife Study Fused with Art
â4âSculpture as Substitute for Life Study
4 Pragmatic Solutions
â1âBorrowed Plumes Easily Disguised
â2âThe Supper at Emmaus of c. 1629
â3âRembrandt and the Madonna of the Rosary: Structuring the Stage
â4âJudas Returning the 30 Pieces of Silver: Caravaggio and Leonardo da Vinci
â5âTwo People in One Frame
5 Appropriating for Commentary: Rembrandtâs Critique of Titian, Raphael, and Leonardo
â1âChrist Driving the Money Changers from the Temple: the 1626 Painting and the 1635 Etching
â2âThe Hundred Guilder Print: Exploiting Raphael, Michelangelo, Leonardo
6 Appropriation and Deviation: Responding for Alternatives
â1âDiana and Actaeon with Callisto and Nymphs: Referencing the Italians
â2âThe Flute Player and Flower Girl: an Alternative to Titian
â3âThe Female Nude
7 Rembrandt Perceived by the Italians: Castiglione, the Ruffo Collection, and La Maniera Gagliarda
â1âGiovanni Benedetto Castiglione: Inspired Improvisations
â2âRembrandtâs Ruffo Series
â3âAbraham Brueghelâs Intermediary Role in the Ruffo Commissions
â4âGuercino: Business-like, Efficient, and Respectful
â5âPreti: Grudging Accommodation
â6âSalvator Rosa: Independent, Arrogant, and Uncooperative
â7âBrandi: Eager to Please
â8âLa Maniera Gagliarda
â9âBaciccio: the Last Word
Bibliography
General and professional readers interested in art appropriation, Dutch and Italian art, and Rembrandt. Keywords: Dutch art, artistic rivalry, art literature, Baroque, Rembrandt, Guercino, Ruffo, Giacinto Brandi.