Rembrandt : : studies in his varied approaches to Italian art / / Amy Golahny.

• Superior document: Brill's Studies in Intellectual History ; Volume 317
• VerfasserIn: Golahny, Amy,
• 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.

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...

Table of Contents

• 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.