Rembrandt [PDF]

Total Page：16

File Type：pdf, Size：1020Kb

Rembrandt Oil Paintings Rembrandt [Holland, 1606 - 1669] Biblical Scene 1642 Oil on wood 28 5/8 x 24 1/8 inches (73 x 61.5 cm) Hermitage, St Petersburg, Russia Oil Painting ID: 28801 | Order the painting The Risen Christ Appearing to Mary Magdalen 1638 Oil on wood 24 x 19 3/8 inches (61 x 49.5 cm) Royal Collection, Buckingham Palace, London, England Oil Painting ID: 28802 | Order the painting The Archangel Leaving the Family of Tobias 1637 Oil on wood 25 7/8 x 20 3/8 inches (66 x 52 cm) MusÃ©e du Louvre, Paris, France Oil Painting ID: 28803 | Order the painting The Blinding of Samson The Blinding of Samson, 1636, Stadelscleskunstinstut, Frankfurt Oil Painting ID: 28804 | Order the painting Belshazzar's Feast 1635 Oil on canvas 66 1/8 x 82 1/4 inches (168 x 209 cm) National Gallery, London, England Oil Painting ID: 28805 | Order the painting 1/3 The Sacrifice of Abraham 1635 Oil on canvas 75 7/8 x 52 1/4 inches (193 x 133 cm) Hermitage, St Petersburg, Russia Oil Painting ID: 28806 | Order the painting Descent from the Cross 1634 Oil on canvas 62 1/8 x 46 inches (158 x 117 cm) Hermitage, St Petersburg, Russia Oil Painting ID: 28807 | Order the painting The Incredulity of St. Thomas 1634 Oil on wood 20 3/4 x 20 inches (53 x 51 cm) Pushkin Museum, Moscow, Russia Oil Painting ID: 28808 | Order the painting The Anatomy Lecture of Dr. Nicolaes Tulp 1632 Oil on canvas 66 5/8 x 85 1/8 inches (169.5 x 216.5 cm) Mauritshuis, The Hague, Netherlands Oil Painting ID: 28809 | Order the painting Balaam's Ass 1626 Oil on panel 24 3/4 x 18 1/4 inches (63 x 46.5 cm) MusÃ©e Cognacq-Jay, Paris, France Oil Painting ID: 28810 | Order the painting Total 14 pages, 1/14 | Page : [1] 2 3 4 5 Rembrandt (Nationality : Holland, 1606 - 1669) Rembrandt [Rembrandt van Rijn] was a Dutch baroque artist who ranks as one of the greatest painters in the history of Western art. His full name was Rembrandt Harmenszoon van Rijn, and he possessed a profound understanding of human nature that was matched by a brilliant technique- not only in painting but in drawing and etching- and his work made an enormous impact on his contemporaries and influenced the style of many later artists. Perhaps no painter has ever equaled Rembrandt's chiaroscuro effects or his bold impasto. • We provide hand painted reproductions of old master paintings. You will be amazed at their accuracy. 2/3 • If you can't find what you are looking for? Please Click Here for upload images for quote. • We can also create custom portrait painting especially for you from photos or digital images. Our Passion Is Art And Art Is Our Profession. Your Satisfaction, Our Pursuit Oil Painting Manufacturer - Xiamen RuoYa Arts And Crafts Co., Ltd. Published on OilPaintingOnline.com (http://www.oilpaintingonline.com) URL: http://www.oilpaintingonline.com/htmlartist/artist-295-1.html 3/3.

Copy Link

Recommended publications

Observing Protest from a Place
VISUAL AND MATERIAL CULTURE, 1300-1700 Knox Giles Knox Sense Knowledge and the Challenge of Italian Renaissance Art El Greco, Velázquez, Rembrandt of Italian Renaissance Art Challenge the Knowledge Sense and FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Sense Knowledge and the Challenge of Italian Renaissance Art FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Visual and Material Culture, 1300–1700 A forum for innovative research on the role of images and objects in the late medieval and early modern periods, Visual and Material Culture, 1300–1700 publishes monographs and essay collections that combine rigorous investigation with critical inquiry to present new narratives on a wide range of topics, from traditional arts to seemingly ordinary things. Recognizing the fluidity of images, objects, and ideas, this series fosters cross-cultural as well as multi-disciplinary exploration. We consider proposals from across the spectrum of analytic approaches and methodologies. Series Editor Dr. Allison Levy, an art historian, has written and/or edited three scholarly books, and she has been the recipient of numerous grants and awards, from the Nation- al Endowment for the Humanities, the American Association of University Wom- en, the Getty Research Institute, the Dumbarton Oaks Research Library of Harvard University, the Whiting Foundation and the Bogliasco Foundation, among others. www.allisonlevy.com. FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS Sense Knowledge and the Challenge of Italian Renaissance Art El Greco, Velázquez, Rembrandt Giles Knox Amsterdam University Press FOR PRIVATE AND NON-COMMERCIAL USE AMSTERDAM UNIVERSITY PRESS This book was published with support from the Office of the Vice Provost for Research, Indiana University, and the Department of Art History, Indiana University.
[Show full text]
In .The in .The
M O O D Y B I B L E I N S T I T U T E ‘ S T TOODD.. AAYY IINN THTHEE WOWOAUGUSTRR 2004DD I am gentle and humble in heart, and you will find rest for your souls. Matthew 11:29 GODLY LEISURE—THE WISDOM OF OUR TIME TODAY WITH PRESIDENT STOWELL ARE YOU SLEEPY? Having trouble concentrating? Maybe it’s time for rest, for He “blessed the seventh those sleepless nights. Experts have dis- day and made it holy” (3). covered that too little sleep impairs our ability That is not to say that too much rest to concentrate. Our brain, without adequate cannot be dangerous. Scripture speaks of sleep, can be so depleted in energy that it fails rest as both a blessing and a curse. to make important connections. Research has Proverbs 6 warns, “How long will you lie also shown that deep sleep helps release there, you sluggard? When will you get up important growth hormones in from your sleep?” (v. 9). On the other hand, children and young teens. For Ecclesiastes 5:12 concludes, “The sleep of a people of all ages, sleep has laborer is sweet.” proven vital to both memory In the New Testament, Jesus tells us, and learning. “Come to me, all you who are weary Not surprisingly, ABC’s news and burdened, and I will give you rest” magazine show 20/20 reported (Matt. 11:28). Revelation 14:13 says, that “tens of millions of “They will rest from their labor, for their Americans” suffer from severe deeds shall follow them.” sleep deprivation.
[Show full text]
Memory, Metaphor, and Aby Warburg's Atlas of Images
Memory, Metaphor, and Aby Warburg’s Atlas of Images Series editor: Peter Uwe Hohendahl, Cornell University Signale: Modern German Letters, Cultures, and Thought publishes new English- language books in literary studies, criticism, cultural studies, and intellectual history pertaining to the German-speaking world, as well as translations of im- portant German-language works. Signale construes “modern” in the broadest terms: the series covers topics ranging from the early modern period to the present. Signale books are published under a joint imprint of Cornell University Press and Cornell University Library in electronic and print formats. Please see http://signale.cornell.edu/. Memory, Metaphor, and Aby Warburg’s Atlas of Images Christopher D. Johnson A Signale Book Cornell University Press and Cornell University Library Ithaca, New York Cornell University Press and Cornell University Library gratefully acknowledge the support of The Andrew W. Mellon Foundation for the publication of this volume. Copyright © 2012 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 2012 by Cornell University Press and Cornell University Library Printed in the United States of America Library of Congress Cataloging-in-Publication Data Johnson, Christopher D., 1964– Memory, metaphor, and Aby Warburg’s Atlas of images / Christopher D. Johnson. p. cm. — (Signale : modern German letters, cultures, and thought) Includes bibliographical references and index. ISBN 978-0-8014-7742-3 (pbk.
[Show full text]
Raphael's Creation, Rembrandt's Fall Author(S): David R
Raphael's Creation, Rembrandt's Fall Author(s): David R. Smith Source: Zeitschrift für Kunstgeschichte, 50. Bd., H. 4 (1987), pp. 496-508 Published by: Deutscher Kunstverlag GmbH Munchen Berlin Stable URL: https://www.jstor.org/stable/1482420 Accessed: 01-05-2020 13:45 UTC REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/1482420?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Deutscher Kunstverlag GmbH Munchen Berlin is collaborating with JSTOR to digitize, preserve and extend access to Zeitschrift für Kunstgeschichte This content downloaded from 85.72.204.160 on Fri, 01 May 2020 13:45:45 UTC All use subject to https://about.jstor.org/terms OW oo oi At. i lr ? r ?" , .. " . i. Rembrandt, The Fall of Man, 1638, etching, London, British Museum David R. Smith Raphael's Creation, Rembrandt's Fall To anyone accustomed to the traditionally movements and gestures. Naturalism here is un- idealized nudity of Adam and Eve in the Gardenmistakably of a consciously antiheroic style. More Eden, the first encounter with Rembrandt's than etch- once, scholars have seen in this first man and ing of The Fall of Man of 1638 (fig.
[Show full text]
Rembrandt – Insight Into an Artist’S Mind
Rembrandt – Insight into an Artist’s Mind Rembrandt’s self-portraits are legion. He also painted himself into some of his Biblical and historic paintings. Here are three of them: Rembrandt is the 14th person on the boat “The Storm on the Sea of Galilee” “The Raising of the Cross.” “The Descent from the Cross.” Rembrandt is the man in the blue cap Rembrandt is the man on the ladder Rembrandt’s Bible-based body of work Here is a partial list of Rembrandt’s Bible-based paintings, etchings, and drawings. It is only partial because some of these subjects he visited time and again, drawing or painting from a different perspective. Fully a third of his entire output was based on the Bible. Many of these titles refer to events in the same chapter in the Bible. (e. g., “Simon with Jesus” and “The Presentation”; both are from Luke 2). Trying not to count the same chapter twice, I came up with a figure of more than 75 different Bible chapters represented in these titles – an impressive oeuvre, all influenced by the Word of God. Paintings A Heroine from the Old Testament , Abraham and the Angels, Abraham’s Sacrifice, Balaam and the Ass, Bathsheba , Boaz and Ruth, Boaz pouring Six Measures of Barley into Ruth’s veil, Christ and Mary Magdalene at the Tomb, Christ and the Samaritan at the Well, Christ in the Storm, Christ on the Cross, Christ Resurrected, Christ Washing the Feet of His Disciples, Daniel and King Cyrus in front of the Idol of Bel, Daniel in the Lion’s Den, David and Jonathan, David Playing the Harp for Saul, David presents the Head of Goliath to King Saul, Ecce Homo, Esau Sells his Birthright to Jacob, Esther is Introduced to Ahasuerus, Esther with the Decree of Destruction, Haman and Ahasuerus visit Esther, Head of Christ, Jacob Blessing the Children of Joseph, Jacob wrestling with an Angel, Jeremiah Lamenting the Destruction of Jerusalem, John the Baptist Preaching, Joseph and Potiphar’s Wife, Joseph Tells his Dreams.
[Show full text]
Book Two the ARTIST
Chapter V – A Well Respected Man 159 Book Two THE ARTIST 160 Chapter V – A Well Respected Man Chapter V - A Well Respected Man 161 A WELL RESPECTED MAN The business of the Civil Service is the orderly management of decline. William Armstrong In the Year of the Lord 1889, the Austrian Emperor Francis Joseph celebrated his fifty-ninth birthday and forty-first anniversary of his reign over the vast Empire of Austria and Hungary; when he died, in 1916, he had ruled the state for sixty-eight years. The realm was huge - covering over 180,000 square miles or about 450,000 square kilometres. The emperor's domains stretched, in the east-west axis, from Czernowitz on the Dniester River in today's Ukraine to Vorarlberg on the Swiss border, and, in the north-south axis, from the lower Elbe River near Aussig to Ragusa in the Bosnian Hercegovina, two thirds down the eastern Adriatic coast. Ethnically and thus politically, however, these territories were hopelessly divided. The racial diversity of the Imperial population included Germans in Austria, Hungary and the Sudetenland; Czechs in Bohemia and Moravia; Slovaks to their east; Poles in western Galicia and Ruthenians, Catholic Ukrainians, in the eastern part of it; Magyars in Hungary and Transylvania interspersed with some more Germans and Romanians; Slovenes, Friaulians and Italians south of the Julian Alps; and finally Croats, Bosnians, Albanians, Montenegrinos and Serbs in and around the Balkan mountains. All these groups fought incessant but mostly inconclusive battles over appointments, representation and influence in the empire and its court, while a laborious civil administration struggled with the actual governance of the multitudes.
[Show full text]
Book Two the ARTIST
Chapter V – A Well Respected Man 159 Book Two THE ARTIST 160 Chapter V – A Well Respected Man Chapter V - A Well Respected Man 161 A WELL RESPECTED MAN The business of the Civil Service is the orderly management of decline. William Armstrong In the Year of the Lord 1889, the Austrian Emperor Francis Joseph celebrated his fifty-ninth birthday and forty-first anniversary of his reign over the vast Empire of Austria and Hungary; when he died, in 1916, he had ruled the state for sixty-eight years. The realm was huge - covering over 180,000 square miles or about 450,000 square kilometres. The emperor's domains stretched, in the east-west axis, from Czernowitz on the Dniester River in today's Ukraine to Vorarlberg on the Swiss border, and, in the north-south axis, from the lower Elbe River near Aussig to Ragusa in the Bosnian Hercegovina, two thirds down the eastern Adriatic coast. Ethnically and thus politically, however, these territories were hopelessly divided. The racial diversity of the Imperial population included Germans in Austria, Hungary and the Sudetenland; Czechs in Bohemia and Moravia; Slovaks to their east; Poles in western Galicia and Ruthenians, Catholic Ukrainians, in the eastern part of it; Magyars in Hungary and Transylvania interspersed with some more Germans and Romanians; Slovenes, Friaulians and Italians south of the Julian Alps; and finally Croats, Bosnians, Albanians, Montenegrinos and Serbs in and around the Balkan mountains. All these groups fought incessant but mostly inconclusive battles over appointments, representation and influence in the empire and its court, while a laborious civil administration struggled with the actual governance of the multitudes.
[Show full text]
The Complete Work of Rembrandt
THIS EDITION IS LIMITED TO seventy-five copies on Japan paper (Edition de luxe) numbered i to j5 AND five hundred copies on Holland paper numbered 76 to 676 COPY N" 95 ALL RIGHTS RESERVED THE COMPLETE WORK OF R E M B R A N D T HISTORY, DESCRIPTION AND HELIOGRAPHIC REPRODUCTION OF ALL THE MASTER'S PICTURES WITH A STUDY OF HIS LIFE AND HIS ART THE TEXT BY WILHELM BODE DIRECTOR OF THE ROYAL GALLERY, RERLIN ASSISTED BY C. HOFSTEDE DE GROOT LATE DIRECTOR OF THE PRINT ROOM, AMSTERDAM MUSEUM FROM THE GERMAN BY FLORENCE SIMMONDS SEVENTH VOLUME CHARLES SEDELMEYER, PUBLISHER 6, RlIE DE LA ROCHEFOUCAULD, 6 1902 NC> XXII PORTRAITS AND STUDIES PAINTED DURING THE LAST YEARS OF THE MASTER 1601 TO 1669 Mntit wDT s bankruptcy, I be X v; loss ol bis home, tile dispersal of bis posses- s ' ons Ois art treasures, ’ and even of bis studies by a forced sale had been 'jjf l a terrible blow for the artist, one to which many a genius even of the more vigorous order would have succumbed. Rembrandt’s art and bis activity were in ^ no wise affected thereby, although the embarassments arising out ol these calamities extended over many years, making heavy ! demands on bis time and patience, and necessarily inducing a certain melancholy ol mood. These years of depression were followed by a period of keener suffering; misfortune and distress pursued the master to bis grave. Rembrandt’s bankruptcy bad not set him free from bis creditors. All be earned belonged to them; they laid claim to everything be painted, and pressed new loans upon him on conditions ever more and more merciless.
[Show full text]
To the Exhibition Catalogue
-the banishment of ... 48, 191, 191, 196, 236, 268, 299, Conus imperialis L. 416, 416 (fig. 112b) 300, 302, 306, ... waiting for Abraham 132, portrayal HOMER 134, 318, 378, 378 of ... 192, figure identified as ... 132, 191, 192 -Aristotle contemplating the bust of... 27, 28, 134, 171, HAID, Johann Gottfried 134 378, ... as painted by A. de Gelder 38, figure identified -prints by... as ... teaching his pupils 134, ... dictating to scribes Man in Armour (after Rembrandt) 134, 134 (fig. 15a), 318, 319, 378, 379,... reciting versus 326, 327, Portrait 136 of ... copy after late Hellinistic original, Boston 378, 378 Hairy War 128 (fig. 97a) HALL, Bernard 18 -books by... HALS, Frans (also Francis)18, 44, 149, 150, 153, 187, Odyssey 340, 440 200, 286, 322 HONTHORST, Gerrit van 126, 160, 214, 222, 284 -broad manner of ... 184 -paintings by... -paintings by... Violinist with a Glass Amsterdam 214, 214 (fig. 33a) The Evangelist Luke Odessa 162 HONTHORST, Willem van 284 The Evangelist Matthew Odessa 161, 162, 162 (fig. HOOCH, Carel de 110, 114 22b), 286 HOOCH, Pieter de 146, 279 Corporalship of Captain Reynier Reael and Lieutenant HOOFT, Pieter Cornelisz Cornelis Michiels Blaeuw (with Pieter Codde) -plays by... Amsterdam 150, 152 (fig. 19c), 153 Geeraerdt van Velsen 170 Married Couple in a Garden ( Isaac Massa and Beatrix HOOFT, W D van der Laan ) Haarlem 240 -plays by... Portrait of a Man Cambridge 183, 184, 184 (fig. 28c) Heden-daeghsche Verlooren Soon 396 Portrait of a Standing Man Edinburgh 150, 152 (fig. HOOGEWERFF G J 134, 378 19b), 153 HOOGH, de Portrait of a Woman Edinburgh 153 -collection of ..
[Show full text]
Tables and Indexes Bibliography Corpus VI
Tables and Indexes Bibliography Corpus VI Adams 1998 Baraude 1933 A.J. Adams (ed.), Rembrandt’s Bathsheba Reading King David’s Letter, H. Baraude, Lopez: agent financier et confident de Richelieu, Paris 1933. Cambridge 1998. Bartsch Amsterdam 1956 A. Bartsch, Catalogue raisonné de toutes les estampes qui forment l’oeuvre de A. van Schendel et al., Rembrandt – tentoonstelling ter herdenking van de Rembrandt, et ceux de ses principaux imitateurs, 2 volumes, Vienna 1797. geboorte van Rembrandt op 15 juli 1606: schilderijen, exhib. cat. Amster- dam (Rijksmuseum) 1956. Bascom 1991 P. Bascom, Rembrandt by himselff, exhib. cat. Glasgow (Glasgow Museums Amsterdam 1991 and Art Galleries) 1991. C. Tümpel et al., Het Oude Testament in de Schilderkunst van de Gouden Eeuw, exhib. cat. Amsterdam (Joods Historisch Museum) 1991. Bauch K. Bauch, Rembrandt: Gemälde, Berlin 1966. Amsterdam 1998 B. van den Boogert et al., Buiten tekenen in Rembrandts tijdd, exhib. cat. Bauch 1933 Amsterdam (Museum Het Rembrandthuis) 1998. K. Bauch, Die Kunst des jungen Rembrandt, Heidelberg 1933. Amsterdam/Groningen 1983 Bauch 1960 A. Blankert et al., The Impact of a Genius. Rembrandt, his Pupils and Fol- K. Bauch, Der frühe Rembrandt und seine Zeit: Studien zur geschichtlichen lowers in the Seventeenth Century, exhib. cat. Amsterdam (Waterman Bedeutung seines Frühstils, Berlin 1960. Gallery) – Groningen (Groninger Museum) 1983. Bauch 1962a Art and Autoradiography K. Bauch, ‘Rembrandts Christus am Kreuz’, Pantheonn 20 (1962), M.W. Ainsworth et al., Art and Autoradiography: Insights into the Genesis of pp. 137-144. Paintings by Rembrandt, Van Dyck, and Vermeer, New York (The Metro- politan Museum of Art) 1982. Bauch 1962b K.
[Show full text]
Re·Bus: Issue 4 (Winter 2009) Edited by Matthew Bowman and Stephen Moonie
re·bus: Issue 4 (Winter 2009) edited by Matthew Bowman and Stephen Moonie Décor: A Conquest by Marcel Broodthaers, (La Bataille de Waterloo), 1975, ICA, 2 London, Natasha Adamou Ideological Conceptualism and Latin America: Politics, Neoprimitivism and 22 Consumption, Zanna Gilbert Shadows of Femininity: Women, Surrealism and the Gothic, 37 Kimberley Marwood Strategies of Ambiguity in Rembrandt’s Naked Woman Seated on a Mound, 54 c. 1631, Michelle Moseley-Christian Dada, MAVO and the Japanese Avant-Garde: A prologue to the introduction of 80 Surrealism to Japan, Majella Munro Cy Twombly: Writing after Writing, 94 Abigail Susik On Becoming and Sites of Encounter in the work of Daniel Shoshan, 121 Merav Yerushalmy Review: Charles Harrison, Since 1950: Art and its Criticism, 133 Stephen Moonie Review: Art of Two Germanys/Cold War Cultures, 139 Alexandra Oliver Review: Renée Green. Ongoing Becomings. Retrospective 1989-2009, 146 Katherine Whitebread Contact details School of Philosophy and Art History University of Essex, Wivenhoe Park, Colchester, Essex CO4 3SQ, UK [email protected] © Natasha Adamou, 2009 Décor: A Conquest by Marcel Broodthaers, (La Bataille de Waterloo), 1975, ICA, London Natasha Adamou Abstract This essay seeks to examine Marcel Broodthaers’ last exhibition Décor: A Conquest by Marcel Broodthaers, (La Bataille de Waterloo) 1975, ICA, London, in the light of two seminal essays in the field of aesthetics and political theory. It starts by looking at Walter Benjamin’s ‘The Author as Producer’, which introduces issues of artistic intentionality, political commitment and its relation to the aesthetic quality of an artwork. It then goes on to address ‘The Politics of Aesthetics’ by Jacques Rancière, which incorporates the notion of the ‘distribution (or partition) of the sensible’ as its main analytical tool.
[Show full text]
Rembrandt's Gifts
Volume 3, Issue 2 (Summer 2011) Rembrandt’s Gifts: A Case Study of Actor-Network-Theory Michael Zell Recommended Citation: Michael Zell, “Rembrandt’s Gifts: A Case Study of Actor-Network-Theory,” JHNA 3:2 (Summer 2011), DOI: 10.5092/jhna.2011.3.2.2 Available at https://jhna.org/articles/rembrandts-gifts-case-study-actor-network-theory/ Published by Historians of Netherlandish Art: https://hnanews.org/ Republication Guidelines: https://jhna.org/republication-guidelines/ Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. This is a revised PDF that may contain different page numbers from the previous version. Use electronic searching to locate passages. This PDF provides paragraph numbers as well as page numbers for citation purposes. ISSN: 1949-9833 JHNA 3:2 (Summer 2011) 1 REMBRANDT’S GIFTS: A CASE STUDY OF ACTOR-NETWORK-THEORY Michael Zell This study explores the applicability of Actor-Network-Theory, a recent paradigm of social theory, to the investigation of Rembrandt’s relations with patrons and collectors. Known by the acronym ANT, the method privileges objects as critical agents in creating, sustaining, and extending social ties and thus offers a model for capturing the dynamics underlying the interdependencies between Rembrandt, his art, his patrons, and collectors. I focus on Rembrandt’s works presented and circulated as gifts, which epitomize the short-lived assemblies between humans and objects that ANT considers the cornerstone of social activity. Drawing on ANT’s approach, I highlight the agency of these works in materializing and enhancing the reciprocal ties that bound networks of collectors and liefhebbers together with Rembrandt.
[Show full text]