Rembrandt : : studies in his varied approaches to Italian art / / Amy Golahny.
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. T...
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Superior document: | Brill's Studies in Intellectual History ; Volume 317 |
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VerfasserIn: | |
Place / Publishing House: | Leiden ;, Boston : : Brill,, [2020] ©2020 |
Year of Publication: | 2020 |
Language: | English |
Series: | Brill's studies in intellectual history ;
Volume 317. |
Physical Description: | 1 online resource. |
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245 | 1 | 0 | |a Rembrandt : |b studies in his varied approaches to Italian art / |c Amy Golahny. |
264 | 1 | |a Leiden ; |a Boston : |b Brill, |c [2020] | |
264 | 4 | |c ©2020 | |
300 | |a 1 online resource. | ||
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490 | 1 | |a Brill's Studies in Intellectual History ; |v Volume 317 | |
504 | |a Includes bibliographical references and index. | ||
505 | 0 | |a Preface -- Acknowledgements -- List of Illustrations -- 1 Prologue: Setting the Stage -- 1 Who Did, or Did Not, Travel to Italy -- 2 Dutch Artists Who Painted Italy at Second Hand -- 3 Jacob van Swanenburg and Pieter Lastman in Italy -- 4 Advice about Travel -- 5 On the Road in Italy: Nicholas Stone Jr. -- 6 The Material Evidence: Collecting Italian Art in Holland -- 7 Van Mander’s Account of Remarkable Italian Paintings in Dutch Collections -- 8 A Sampling of Amsterdam Collections: 1630–1660 -- 9 Rembrandt at the Art Market -- 10 A Contrast in Collecting: Joachim von Sandrart in Amsterdam and Bavaria -- 2 Attitudes: Critical, Admiring, and Curious toward Rembrandt -- 1 Rembrandt’s Acquaintances Condemn His Disregard for Italian Values: Huygens, Sandrart and De Lairesse -- 2 Pels, De Decker, and De Geest: Polarizing Attitudes -- 3 Rembrandt’s Singular Manner: Houbraken -- 4 Rembrandt’s Naturalism in Stefano della Bella’s Model Books -- 5 Rembrandt’s Goal in Art -- 3 Rembrandt’s Collection and How He Used It: the Canonical and the Unusual -- 1 Drawing from the Original: Mantegna, Leonardo, Raphael, Titian -- 2 Reminiscences and Variations -- 3 Life Study Fused with Art -- 4 Sculpture as Substitute for Life Study -- 4 Pragmatic Solutions -- 1 Borrowed Plumes Easily Disguised -- 2 The Supper at Emmaus of c. 1629 -- 3 Rembrandt and the Madonna of the Rosary: Structuring the Stage -- 4 Judas Returning the 30 Pieces of Silver: Caravaggio and Leonardo da Vinci -- 5 Two People in One Frame -- 5 Appropriating for Commentary: Rembrandt’s Critique of Titian, Raphael, and Leonardo -- 1 Christ Driving the Money Changers from the Temple: the 1626 Painting and the 1635 Etching -- 2 The Hundred Guilder Print: Exploiting Raphael, Michelangelo, Leonardo -- 6 Appropriation and Deviation: Responding for Alternatives -- 1 Diana and Actaeon with Callisto and Nymphs: Referencing the Italians -- 2 The Flute Player and Flower Girl: an Alternative to Titian -- 3 The Female Nude -- 7 Rembrandt Perceived by the Italians: Castiglione, the Ruffo Collection, and La Maniera Gagliarda -- 1 Giovanni Benedetto Castiglione: Inspired Improvisations -- 2 Rembrandt’s Ruffo Series -- 3 Abraham Brueghel’s Intermediary Role in the Ruffo Commissions -- 4 Guercino: Business-like, Efficient, and Respectful -- 5 Preti: Grudging Accommodation -- 6 Salvator Rosa: Independent, Arrogant, and Uncooperative -- 7 Brandi: Eager to Please -- 8 La Maniera Gagliarda -- 9 Baciccio: the Last Word -- Bibliography. | |
520 | |a 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 artists’ 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 Rembrandt’s art, with a focus on the patron Don Antonio Ruffo, and closes by considering the reception of his works by Italian artists. | ||
588 | |a Description based on print version record. | ||
650 | 0 | |a Art, Dutch |x Italian influences. | |
600 | 0 | 0 | |a Rembrandt Harmenszoon van Rijn, |d 1606-1669 |x Criticism and interpretation. |
600 | 0 | 0 | |a Rembrandt Harmenszoon van Rijn, |d 1606-1669 |x Appreciation |z Italy. |
776 | |z 90-04-38266-6 | ||
830 | 0 | |a Brill's studies in intellectual history ; |v Volume 317. | |
906 | |a BOOK | ||
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