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Front Cover: 3 Introduction Rembrandt, Self Portrait Leaning on a Stone Sill, Marjorie E. Wieseman 1639, etching, 8 3A6 x 6 9A6 in. (20.8 x 16.7 cm). Allen Memorial Art 5 Wolfgang Stechow Museum, Gift of Mrs. F. F. Prentiss, 1944.63. and the Art of Iconography David A. Levine & Nicola Courtright Back Cover: Wolfgang Stechow, Oberlin 1963 (photograph by !5 Rembrandt and the Old Testament Arthur E. Princehorn). Wolfgang Stechow

59 The Crisis in Rembrandt Research Wolfgang Stechow

67 Appendix: Table of Contents and Addenda for Stechow's "Gesammelte Aufsatze" Wolfgang Stechow Edited by David A. Levine & Nicola Courtright

79 Acqusitions 1996-1998

93 Loans 1996-1998

95 Museum Staff & Publications

Published twice a year by the Allen Memorial Art Museum, Oberhn College, Oberlin, Ohio. Back issues available from the Museum. Indexed in the Art Index and abstracted by BHA (Bibliography of the History of Art) and ARTbibliographies. Reproduced on University Microfilms, Ann Arbor, Michigan. Printed by Herald Printing. Copyright © Oberlin College, 1998. ISSN: 0002-5739.

Introduction

Although it has been nearly twenty-five years considerations in the often contentious field of since Wolfgang Stechow's death, his erudition and Rembrandt studies. Finally, the Appendix, personality are still very much in evidence at the containing Stechow's own commentaries written to Allen Memorial Art Museum. The many accompany the reissue of twenty of his previously magnificent artworks on display throughout the published iconographic studies (a project he galleries are silent confirmation of his remarkably was engaged with during the final months of his varied connoisseurship and astute understanding life), shows a fertile and tenacious mind, probing of both the potential and the responsibilities of and re-evaluating his subjects as many as forty an academic museum. Museum files are rife with years after their original investigation. his handwritten notes, ranging from detailed I am immensely grateful to David Levine and investigations of iconographic prototypes and Nicola Courtright for their thoughtful scholarly patient stylistic analyses, to a simple but enthusias­ contributions to this volume, as well as their long tic "groovy!" penned in the margin of an acquisition standing devotion to this project. I would also like proposal. Perhaps Stechow's most important to thank the many colleagues and friends who have Oberlin legacy, however, is the far-flung cadre assisted in the realization of this project, among of devoted students and friends who continue to them Leslie Miller, Pierre Rosenberg, Irina shape the field of art history. Sokolova, Jenny Wilker, and the H. Shickman In a modest way, this volume commemorates Gallery, New York. Finally, I am pleased to dedicate Stechow's significant mark—both direct and this publication to two very special people, who indirect—on the history of art. The first essay have enriched my appreciation of Stechow presents an insightful and much needed analysis the scholar with an understanding of the man: of Wolfgang Stechow's contribution to the study Wolf's widow, Ursula Stechow, who continues to of iconography by two former students, David be a devoted supporter and beloved friend of this Levine and Nicola Courtright. Stechow's previously museum; and Dr. Alfred Bader, who not only unpublished lecture on "Rembrandt and the Old underwrote the cost of this publication, but Testament," delivered in 1974, is a characteristically whose continued generosity to this museum and lucid and synthetic consideration of the significance to the Department of Art is a powerful and of key themes in Rembrandt's art. Although much lasting memorial to the intellect and character of has been published in the field since 1975, when Wolfgang Stechow. Stechow's essay on "The Crisis in Rembrandt Research" originally appeared, the issues he raises about the essential interrelationship of physical, Marjorie E. Wieseman aesthetic, and iconographic factors are still valid Curator of Western Art before 1850

Wolfgang Stechow and the Art of Iconography

David A. Levine & Nicola Courtright

Today, nearly a quarter century after his death, study of iconography now. Although it may seem Wolfgang Stechow is still remembered by scholars (as one prominent art historian has wryly observed) worldwide for his outstanding connoisseurship and that in recent years iconography has followed her perceptive analysis of form. This is exacdy as it elder sister, stylistic analysis, along with the human­ should be, of course. Stechow's remarkable ability istic ideal itself, into the grave, the origins and to distinguish, characterize, and interpret individual twentieth-century development of iconography artistic styles, to say nothing of his prodigious have lately been the subject of much stimulating scholarly output in these areas, reserves him scholarship.2 Stechow's name has been mysteriously a permanent place in the history of art history.1 omitted from this recent literature.3 A consideration Yet to remember Stechow only as a connoisseur of his writings on iconography is therefore due to both distorts the historical picture and fails to give set the historical record straight. Moreover, full measure to the man. Stechow's wide-ranging Stechow's essays remain highly instructive. Not intellect led him to make landmark contributions to only is their factual information still valuable, but many other branches of art history including, most their underlying premises reveal much about the notably, iconography, the study of subject matter in directions taken by art history during the twentieth art and its meaning. Not only did Stechow produce century. a monograph for a classic series in that field Although they defy easy pigeonholing, {Apollo und Daphne [1932], Studien der Bibliothek Stechow's broad-ranging and varied publications Warburg, vol. 23), he published numerous substan­ on iconographical topics may be classified by their tial articles on iconographic themes throughout objective. Some of them aim primarily to trace his scholarly career. These essays were a matter of continuity and change in the artistic depiction of pride for Stechow, who wished them to be read literary themes and historical events over time. and remembered. Indeed, in the final years of his This first group includes Stechow's "Myth of life he made preliminary arrangements to republish Philemon and Baucis in Art" (1940), "'Shooting in book form about twenty of his most significant at Father's Corpse'" (1942), "Jacob Blessing the articles on iconographic topics, accompanied by Sons of Joseph from Early Christian Times addenda updating his findings. Halted by his death to Rembrandt" (1943), "Heliodorus' Aethiopica in in 1974, the project remains unrealized to this day. Art" (1953), and other works dating mainly from More will be said of Stechow's planned publication the early and middle periods of his career.4 in our introduction to the Appendix below. Other iconographic studies by Stechow Aside from honoring the author's understand­ attempt to identify with new precision the literary able desire for his work to be remembered, there is or historical subject and the figures represented good reason to revisit Stechow's contribution to the in particular pictures, among them "Rembrandt- Democritus" (1944), "Joseph of Arimathea or easily leads to blindness. I agree; but I think it is Nicodemus?" (1968), and "Rembrandt's Woman with appropriate to point out, at least once in a while, the Arrow" (1972). Some of the later studies of this that the reverse is equally true."5 kind identify biblical subject matter in artistic Most decisively here, but also in other published works heretofore assumed to depict undifferentiated and unpublished texts, Stechow reflected critically scenes of "genre." Stechow's "'Lusus Laetitiaeque about his own methodology and declared himself Modus'" of 1972, for example, reinterprets various unmistakably as one of its partisans. Moreover, his "merry company" scenes as portrayals of Christ's writings affirm certain personal credos, above all parable of the Prodigal Son. These essays also call 1) that the study of iconography and the study of attention to what Stechow perceived as the forgot­ style are complementary enterprises, each inform­ ten moral content in works of art. "Jan Steen's ing and activating the other; and 2) that only those Representations of the Marriage in Cana," also who investigate iconography in conjunction with published in 1972, not only properly identifies the stylistic and aesthetic issues stand much chance of subject matter of certain previously misunderstood attaining a deep understanding of art. These pictures by Steen, but also argues that those works kindred tenets seem to have guided Stechow exhibit particular ethical and spiritual properties. throughout his scholarly career.6 A third group of studies focuses more exclusive­ Stechow's conviction regarding the value and ly upon demonstrating the survival and revival of importance of iconographical study, as well as classical themes and forms in post-Medieval art. elements of his methodology, were in large part "'The Love of Antiochus with Faire Stratonica' in products of the young scholar's early training and Art" (1945), "'Lucretiae Statua'" (1951), and "The personal experiences in Germany. After completing Finding of Erichthonius: An Ancient Theme in a humanistic course of study in the Gymnasium at Baroque Art" (1963), exemplify this kind of study Gottingen, Stechow entered Freiburg University in from various periods of Stechow's career. 1914 intending to specialize in history, but found On the whole, Stechow was not much given to the art history lectures of Wilhelm Voge so abstract theorizing, and only once did he devote compelling that he soon reconsidered his plans.7 In an entire publication to commenting upon icono­ a letter to his brother dated July 16,1914, he noted graphic method: "'Shooting at Father's Corpse': that for all his admiration of historians such as A Note on the Hazards of Faulty Methodology" Friedrich Meinecke (1862-1954), he found history (1955; Appendix 5b) takes aim at art historians who too neutral and impersonal for his tastes. His overlook subject matter in their zeal to convey preference for art history, he suggested, reflected his the artistic value of pictures. The specific focus of need to involve his inner senses, for which making Stechow's complaint was Roberto Longhi's misun­ music, especially his fine piano playing, also served derstanding of a subject to which Stechow had as a serious oudet. devoted an article (Appendix 5a). Stechow wrote, At that time Stechow also first encountered "it is in itself unimportant that Longhi failed to Erwin Panofsky, the prodigy whose iconographic recognize the true subject [of the set of panels that studies would soon alter the discipline of art was the focus of his inquiry]. Something more history. Stechow's senior by four years, Panofsky interesting, however, is revealed by a somewhat was in the process of completing his doctoral closer analysis of what happened to his description dissertation on Albrecht Diirer under Voge's direc­ and evaluation of these panels under the impact of a tion. Stechow clearly looked up to Panofsky, with wrong interpretation of their subject" [Stechow's whom he maintained a lifelong friendship.9 It is emphasis]. He went on to analyze, precisely and likely that Panofsky discussed the ideas of Aby devastatingly, how ignorance of the subject skewed Warburg with Stechow at this early juncture. As the way that Longhi saw, described, and under­ is well known, Warburg (1866-1929) was then pio­ stood the work of art; i.e., Longhi misrepresented neering the transformation of iconography from a the size of one of the figures, mischaracterized its discipline primarily concerned with morphologies pose, and finally misunderstood the larger meaning and typologies into a vastiy more ambitious field of the work as a whole. Stechow concluded, "We of study. His method not only tracked change in are told over and over again that iconographical the representation of antique subjects over time, it research divorced from stylistic interest and acumen related art to broader cultural manifestations and

6 analyzed the deeper meanings of artistic change. "Melencolia I": Eine Quellen- und Typengeschichtliche It was Warburg who in 1912 first used the word Untersuchung (Leipzig, 1923).I7 The first volumes of "iconological" to identify this type of investigation, thematic studies published by the Warburg library a concept later famously developed by Panofsky.10 under Saxl's editorship had by then appeared in Stechow may also have learned about Warburg's print. Already in 1931, G.J. Hoogewerff, the Dutch ideas from his teacher Voge; the Freiburg professor scholar known primarily for his archival studies of was on good terms with Warburg during these Netherlandish artists in Rome, had come out years, as proven by the fact that Warburg sent him with an important article distinguishing between one of his proteges.11 iconography and iconology1 Panofsky published Stechow's studies were to be immediately his own expanded characterization of Warburg's 19 interrupted by the First World War. He and his methodology in the following year. By 1936, older brother both served in the calvary, initially when Stechow accepted a job at the University of in Belgium, and then in Russia, where his brother Wisconsin, having lost his position in Gottingen died within a short time. Stechow himself became owing to his mother's Jewish ancestry, the art a prisoner of war, spending two and a half years history stimulated by Warbug's method had grown 20 in Siberia.12 Upon his return to Germany, in early deep roots. ' 1918, the young scholar turned fully to art history Not surprisingly, therefore, much about in his home town of Gottingen, where in 1921 he Stechow's iconographical research reflects the larger completed a dissertation on Diirer's Apocalypse Warburg/Panofskian intellectual project. Following under the aegis of Professor Georg Graf Vitzthum in the tradition of Warburg, Panofsky, and others, (1880-1945).13 Most of his training during the years Stechow concentrated upon the "Nachleben immediately following focused on developing skills der Antike," the survival, revival, spread, and in connoisseurship: he worked for a year under transformation of the ancient legacy. Indeed, his Wilhelm von Bode at the Berlin museum (1921-22), Apollo und Daphne explicitiy proclaims itself a and in the following year on the staff of Cornells study in that genre. Like his elder colleagues from Hofstede de Groot in Holland, helping that scholar Hamburg, Stechow also focused upon the move­ to complete his ambitious catalogue raisonne of ment of subjects through space as well as through Dutch painting. time. His article on Heliodorus' Aethiopica traces Yet at Gottingen, both as a student and, the peregrinations of the classical theme in royal beginning in 1923, as assistant professor, Stechow residences throughout seventeenth-century Europe, inhabited an environment sympathetic to the "new" to cite but one example. Stechow also concerned iconography.14 Although a man of the old school, himself with the way particular formal solutions Graf Vitzthum maintained close intellectual leap from one theme to another, and with the relations with scholars interested in Warburg's deeper meaning of those jumps. For example, he approach. He was devoted to Adolph Goldschmidt, drew attention to the fact that Rembrandt's Supper a childhood friend of Warburg whose own work at Emmaus adapts the iconography of Elsheimer's on medieval manuscripts, melding traditional Philemon and Baucis in order to emphasize the iconography with stylistic criticism, paleography, fundamental thematic correspondence linking the liturgy, and documentary evidence, resonated with two stories, namely the hidden presence of divinity 21 Warburg's.15 Another important intellectual on earth. The same type of subtle analysis connection in Gottingen was Stechow's good friend underlies Stechow's 1968 monograph Rubens and the and colleague in history, Percy Ernst Schramm, a Classical Tradition, which, although not primarily self-declared disciple of Warburg.1 iconographical in intent, still adheres to many principles of the "new" iconography.22 Even before Stechow published his first major iconographical study, a monograph tracing the Interestingly, however, Stechow's iconography theme of Apollo and Daphne in art (1932), the new differs from that of his learned contemporaries in direction in iconography was becoming established important ways. Unlike Panofsky and Warburg, internationally. Panofsky and Fritz Saxl had already Stechow did not much discuss the way cultural answered Warburg's call for an integrated approach context affected deeper meaning. In particular, he to art-historical investigation in their famous declined to speculate about the unconscious use of tour-de-force of iconographical analysis, Diirers forms and symbols to convey meaning, desiderata of Warburg and the young Panofsky.23 Nor did he care studies were also implicidy battling the pernicious to construct philosophical and cultural metasys- notion that Rembrandt was intrinsically a German tems. Rather, Stechow tended to treat icono­ whose art expressed the spirit of his race. This con­ graphical traditions as legacies worthy of study in tention, the subject of Julius Langbehn's wildly and of themselves, without trying to explain how popular Rembrandt als Erzieher (originally pub­ those traditions might have conditioned formal lished in 1890), continued to color analyses of changes in works of art. He took delight in string­ Rembrandt's art in the years preceding the Nazi ing together extended chronological sequences of rise to power.29 By showing that Rembrandt drew unknown works representing arcane subjects, and upon a variety of visual and thematic traditions, clearly believed that bringing lost art and forgotten presenting him in effect as a universal artist, themes to light was in itself a valuable contribution. Stechow negated this nationalistic claim. As we In these ways, Stechow's iconographical production shall see, the notion of the universality of great art resembles the nineteenth-century encyclopedic influenced Stechow's thinking no less consistendy tradition, which focused upon establishing descrip­ than did his belief in the essential unity of human tive morphologies and typologies for both classical civilization. 24 and Christian imagery. Indeed, Stechow made Equally forward-looking are those essays from more than one contribution to thematic encyclope­ Stechow's final years that apply the iconographic 25 dias that compiled information of this sort. method to Dutch genre scenes and other subjects Notwithstanding their strong ties to preexisting formerly considered reflective of real life. '"Lusus trends in scholarship, the iconographic studies Laetitiaeque Modus'" and "Jan Steen's under discussion here stand apart in important Representations of the Marriage in Cana," both of respects from earlier contributions to the field . 1972, show Dutch artists of the seventeenth century First of all, Stechow's pieces apply an iconographic to have made use of venerable artistic traditions method to types of art never before subjected to even when depicting seemingly casual and unso­ such investigation. "Rembrandts Darstellungen phisticated imagery. Furthermore, both studies der Kreuzabnahme" of 1929 may well be the earliest propose that the "improper" imagery featured in important iconographic study in Rembrandt these biblical representations exhorts viewers to research, the first to show that Rembrandt depend­ embrace some implicit higher morality. These ed upon formal and iconographical solutions paired notions form the basis of the broader reeval- provided by older art, as Christian Tiimpel main­ uation of Dutch genre painting conducted by Eddy tained (and Stechow himself wished to remind de Jongh, Jan Emmens, and other scholars of the us).2 That article and its 1934 counterpart, next generation. The fact that Stechow's plans to "Rembrandts Darstellungen des Emmausmahles," republish his iconographical articles in a single are pioneering works in a field that would soon volume solidified during the early 1970s, a period blossom with the publication of iconographical of intense international interest in the iconography studies of Rembrandt's art by Panofsky, Saxl, of Dutch painting, surely bespeaks the author's Van de Waal, Heckscher, Held, and others.27 By recognition of his formative role in that domain. establishing the crucial notion that the adaptation Stechow's iconographic studies also possess a of artistic conventions enhanced rather than discernible internal character that ties them to one diminished the originality and inventiveness of another and distinguishes them from the scholarly Rembrandt's art, an idea that Panofsky and Saxl productions of others. Their special hallmark is an had earlier developed in order to explain the art of almost ascetic clarity of structure—regardless of Diirer, Stechow's writings paved the way for all their particular type or subject matter—that later contributions to the field. To be sure, without digression, fol-de-rol, or intellectual flim- Stechow's insistence that Rembrandt learned from flamming, lays out each of the points the author past art may be understood within the context of a regarded as essential for iconographic investigation. broader ongoing polemic, one taking aim at the Nearly every one begins with a brief summary modernist view of art as the product of genius narrating the story to be investigated. Such divorced from tradition. In a later article, the author introduction inevitably precedes a longer analysis confronted the assumptions of modernist criticism constructing the theme's visual tradition (or 28 more direcdy. But Stechow's early iconographical traditions), a process that involves describing and

8 evaluating in chronological sequence those of art held to be most responsive to the moral representations of the subject deemed to form a intent of the texts they illustrate. Consider, for meaningful development. Variations from example, the author's elevation of Rembrandt's established visual norms are carefully noted and Jacob's Blessing in Kassel (color ill. p. 57) above all appreciated (although Stechow usually made other depictions of the theme, primarily on the litde attempt to account for them historically). basis of the picture's high valuation of family life Digressions are few, so that the structure of the (the prominent inclusion of the boys' mother, argument remains easily visible beneath the Asenath, at the event).31 By the same token, armature of factual information. In the closing Stechow avoided subjects and objects that were not paragraphs the organization loosens to accommo­ morally edifying. One searches his bibliography in date hypotheses about the significance of particular vain for iconographic studies in which unresolved formal variations and provocative comments conflict, destructive passion, or similarly abject about the larger meaning of the theme for the themes play defining roles. In erotically charged history of art. and violent narratives where "disagreeable" mean­ One might say that Stechow, an accomplished ings sensibly might be inferred, Antiochus's love for musician who for many years conducted the his father's wife Stratonice, for example, Stechow Gottingen Academic Orchestra, structured his chose to see only the stories' high-mindedness. articles much like the discrete movements of a Clearly, the author's heartfelt ideals firmly Mozart sonata, in which a theme sounds without shaped both his choice of subject matter and his delay, one variation replaces the next (but the interpretations of specific works of art. This original often returns delightfully), a slow move­ powerful personal dimension helps to give 32 ment allowing for thoughtful contemplation Stechow's contribution its distinctive character. follows, and an allegro (with appropriate dramatic Stechow's iconographic studies possess yet accents but no melodramatic rubato allowed) another important distinguishing feature, their concludes the piece more swiftly than one might tendency to find the unifying elements underlying 30 expect. Stechow doubtless wished to provide his distinct cultural expressions. The idea that the Old readers with a pleasing aesthetic experience. The and New Testament are essentially one book, linked clarity and apparent simplicity of his writing also by theme and spiritual content, for example, recurs implies a larger idea, that art and art history should in many of his scholarly works. Stechow believed declare themselves, and not require untangling by this insight to be within the purview of Rembrandt elite groups of initiates. His work by example and other great artists, who often expressed it in expresses a conviction that there is a clear path to their paintings, drawings and prints. For instance, knowledge, that the clear path is the virtuous path, he regarded Rembrandt's etched Presentation "in and it is available to all who seek it. the Dark Manner" (B. 50) a work of genius, on the Stechow's iconographic research also stands grounds that it "integrated the religious essence of apart by virtue of its particular subject matter and the whole Bible into one indissoluble artistic 33 underlying content. Although he wrote copiously unity" Similarly, he lauded Rembrandt's Kassel on many issues, the author gravitated towards version of Jacob's Blessing for the way that it themes of a particular spiritual nature, above all "achieved a profound synthesis of ideas springing 34 those exemplifying the attainment of religious grace from both the Old and the New Creed." To be through moral choice, and the hidden presence of sure, examples such as these make an argument for the divine on earth. Instances of unusual human Rembrandt's belief in scriptural oneness, but they generosity, selflessness, benevolence, acceptance and also reveal the author's view that great art heals and repentance that lead ultimately to peace, harmony unifies cultural and theological divisions, an article and understanding appealed to him especially, and of faith infusing Stechow's scholarly enterprise with provided the focus for some of his most compelling distinctive moral purpose and content. writing. (We are thinking here particularly of the Stechow maintained a comparable continuum articles on Philemon and Baucis, Antiochus and from classical fable to that which he termed Stratonice, Jacob Blessing the Sons of Joseph, and "Christian myth."35 He also saw thematic the Parable of the Prodigal Son.) Concomitandy, and formal ties between works of art from widely Stechow reserved his greatest praise for those works divergent geographical regions and historical periods. Affinities between Rembrandt and the art a historical period that appeared to recover and of Renaissance Italy appealed to him particularly, vividly express human values of the distant classical and in some of his thematic studies he even past, and to willfully set aside the cultural condi­ presented works by the Dutch master as if they tions that affected the production of art. But it also were the logical outcome of artistic problems first seems to us that there is a contemporary historical raised in fifteenth-century Florence. This proclivity dimension to Stechow's enterprise that is perhaps led Stechow to dwell upon relationships between obvious but bears stating. By means of his chosen art from the North and South generally, and emphasis, Stechow declared the continuity of perhaps accounts in part for his high evaluation artistic creation throughout periods, including his of Dutch mannerism and "Italianate" Dutch art, own, in which the warp and woof of civilization whose study he pioneered.3 appeared to be wrecked beyond repair.40 This kind There is in fact a powerful relationship between of scholarship wiped away national borders: it the principles that guided Stechow's practice of insistendy made artists—and by association the art iconography and those that led him to devote his historians who traced their contributions—part of scholarship primarily to Baroque art.37 Beyond a great supra-national endeavor. revealing the "Nachleben der Antike" in a general Stechow's intellectual stance mirrored his sense, Stechow's fundamental aspiration in practic­ personal circumstances and choices. He saw some ing iconography was to recover and to celebrate of the most respected among the older generation specific values of classical antiquity that he regarded of teachers and scholars, men who had proudly as enduring and supreme. For him, these values identified personally and in their scholarship with were expressed more eloquendy in Baroque art than what they regarded as the equally great cultures in the art of the Renaissance or any other period. of France, Germany, and Italy, suffer breakdowns He expressed this view succincdy in his "Finding of following the struggle between these powers in the Erichthonius" (1963): First World War.41 He himself had served in the Although generalizations do become dangerous military, lost his beloved brother, and faced two and here, one may perhaps say that the antiquarian a half years in Siberia as a consequence of that hor­ aspects of antiquity have more completely rifying conflict. In some sense, he had to become a disappeared from the Baroque works, and so self-aware internationalist who subsequendy have the demonic aspects. Even Rembrandt's worked in a Holland less than sympathetic to a and [Paulus] Bor's works are conceived and Germany whose scholars often tried to claim the visualized as more stricdy human experiences culture of the Netherlands as their own. For this than comparable ones of the Early Renaissance, academic, who was dismissed from his post for and Rubens' more than those of the High ethnic reasons and compelled to adapt to the Renaissance, in which the psychological distance foreign culture of the U.S., writing iconography in from antiquity speaks more strongly, and which this way was not just an intellectual position. It was are apt to convey the impression of either a also an assertion and a wish about the necessity for grandiose reconstruction or a nostalgic dream. the transcendence of art. This focus was not unique In the works of its great masters, the Baroque to Stechow's work, of course; it informed the found a more direct, more intimate approach to studies of many humanistically-trained scholars of the wellsprings of classical mythology.3 his generation. More than other comparable art No doubt this is why most of his iconographical historical writing of the time, however, Stechow's studies culminate in analyses of seventeenth- iconography emphasized the existence of values century examples. His belief that Baroque art, that he believed superseded all national and ethnic because of its content, is both more direct concerns and retained their validity in any era. and intimate than Renaissance art and therefore better suited to revive the particular ancient values that he treasured, also fundamentally separates 1 his enterprise from most of the scholarship of the Warburg school.39 Today it may seem curiously arcane to investi­ gate mainly moral, uplifting themes in art, to favor

IO Notes i. A complete list of Stechow's publications 7. Ursula Stechow (letter dated July 2,1998) appears in Print Review 5 (1976), pp. 171-81. writes that the family moved to Gottingen after Wolfgang Stechow's father's 2. Irving Lavin, "Ikonographie als geis- premature death in 1904. On Voge, see teswissenschaftliche Disziplin," in Die Erwin Panofsky, "Wilhelm Voge: A Lesbarkeit der Kunst: Zur Geistes-Gegenwart Biographical Memoir," Art Journal 38 der Ikonologie, ed. Andreas Beyer (Berlin, (1968), pp. 27-37; and Carl Georg Heise, 1992), p. 15, acknowledges the method's Wilhelm Voge zum Gedachtnis (Freiburger passing from favor while arguing for its Universitatsreden, n.f, vol. 43) (Freiburg, intellectual validity. This article, as well as 1968). other contributions in the volume, form part of the recent burgeoning literature on 8. Our thanks to Ursula Stechow for iconography and iconology. Other analyses sharing this correspondence with us. For include Ikonographie und Ikonologie: Meinecke's memoirs of this period, see Theorien, Entwicklung, Probleme, ed. his Erlebtes, 1862-igig (Stuttgart, 1964); and Ekkehard Kaemmerling (Cologne, 1979); The German Catastrophe: Reflections and Andreas Beyer, Aby M. Warburg und die Recollections, trans. Sidney B. Fay Ikonologie (Bamberg, 1989); Dieter Wuttke, (Cambridge, Mass., 1950). An admiring Aby M. Warburgs Methode als Anregung student, Stechow wrote in his letter that undAufgabe, 4th ed. (Wiesbaden, 1990); "Voge, an den man sich rein akustisch bald Iconography at the Crossroads, ed. Brendan gewohnt, ist mir in jeder Stunde ein Cassidy (Princeton, 1992); and Meaning Genuss." He appreciated him particularly in the Visual Arts: Views from the for the way that he conveyed the "Wesen" Outside. A Centennial Commemoration or inner character of Gothic art and made ofErwin Panofsky (1892-1968), ed. Irving connections with Germanic and Celtic art Lavin (Princeton, 1995). in his course on Gothic. Nevertheless, Stechow also found Voge "manchmal recht 3. For example, Willem F. Lash, konfus und asthetisch." Voge had in fact "Iconography and Iconology," in The characterized himself as an impossible Dictionary of Art (London and New York, teacher for first-year students (Heise, Voge 1996) vol. 15, pp. 89-98, omits any mention zum Gedachtnis [as in n. 7], 14). of Stechow. Tellingly, thirty years earlier, Jan Biaiostocki, "Iconography and 9. In his letter, Stechow mentioned that Iconology," in The Encyclopedia of World he had not yet discussed his decision to Art, (New York et al., 1963), vol. 7, cols. change fields with Panofsky, a casual 769-86), had emphasized Stechow's comment revealing that Panofsky, who contributions to iconographical studies. was finishing his dissertation on Durer in his last semester, had rather remarkably 4. See the Appendix below for complete befriended Stechow in his first. bibliographic references to all articles on iconographic subjects by Stechow ro. Translated as "Italian Art and mentioned in the text. International Astrology in the Palazzo Schifanoia in Ferrara," in German Essays on 5. On Roberto Longhi, and an evaluation Art History, ed. Gert Schiff (New York, of Longhi's intellectual debt to Benedetto 1988), pp. 234-54. On this lecture, see Croce and Bernard Berenson, see Andreas William S. Heckscher, "The Genesis of Beyer, "Roberto Longhi (1890-1970)," in Iconology," in Stil und Uberlieferung in der Altmeister moderner Kunstgeschichte, ed. Kunst des Abendlandes (Akten des 21. Heinrich Dilly (Berlin, 1990), pp. 250-65. Internationalen Kongresses fur Kunstgeschichte in Bonn, 1964), vol. 3, 6 Significantly, in a letter of September 26, Theorien und Probleme (Berlin, 1967), pp. 1974, to Klaus Lankheit, the editor of his 239-62. Panofsky himself had already heard planned volume of essays, Stechow referred Warburg formulate the basis of his new to his iconographic studies as "Aufsatze method in his 1912 lecture; Michael Ann iiber Ikonographie und Stil." Holly, Panofsky and the Foundations of Art History (Ithaca and London, 1984), p. in.

11. Heise, Voge zum Gedachtnis (as in note 7). P-l3-

II 12. On this phase of Stechow's life, Ursula An Intellectual Biography (2nd ed., Chicago 21. "Emmausmahles" (Appendix 2), p. 333. Stechow has contributed the following and Oxford, 1986), pp. 141-44. memoir: "During that time, he and others Goldschmidt had established a photo 22. Rubens and the Classical Tradition interned in the camp near Irkutsk (includ­ exchange for medieval manuscripts in the (Martin Classical Lectures, vol. 22) ing Austrians and Hungarians) kept alive early years of the century with a group of (Cambridge, Mass., 1968). by sharing all their inner resources: study­ scholars including Vitzthum, according to ing mathematics and languages, including Weitzmann, Goldschmidt, p. 7. When 23. Early on, Panofsky articulated the goal Russian; organizing a mail system and forced to emigrate to Switzerland in 1939, of iconology as recovering the "symbolical" trying to locate prisoners elsewhere in Goldschmidt left the part of his library aspect of artistic production, which was Siberia; playing chess and tennis; and, that he did not donate to the university in sometimes "unknown to the artist himself above all, playing music, for which the Jerusalem to the art history institute at and may even emphatically differ from American YMCA and later the Swedish Gottingen, owing to his friendship with what he consciously intended to express"; Red Cross, under Elsa Brandstroem's ini­ Stechow's former teacher; Weitzmann, "Iconography and Iconology: An tiative, furnished the instruments. Many of Goldschmidt, p. 29. Introduction to the Study of Renaissance the friendships formed at that time lasted Art," in Erwin Panofsky, Meaning in the well into the future." 16. Percy Ernst Schramm, "Mein Lehrer Visual Arts (Chicago, 1955), p. 31. Aby Warburg," in Mnemosyne. Beitrdge Gombrich, Aby Warburg (as in note 15), 13. On Vitzthum, see Wilhelm van zum 50. Todestag von Aby M. Warburg, pp. 12-13, 73~8°> discusses Warburg and his Kempen, "Die Pflege der Kunstgeschichte ed. Stephan Fiissel (Gottingen, 1979), study of unconscious forces in a culture. an der Georg-August-Universitat zu pp. 36-41. For Panofsky and the unconscious, see Gottingen," Mitteilungen des Gottingen Horst Bredekamp, "Words, Images, Universitdtsbundes 1 (1951), p.8; and Ulrike 17. Martin Warnke, "Aby Warburg Ellipses," in Meaning in the Visual Arts, ed. Wollenhaupt-Schmidt, "'Hider hat die (1866-1929)," in Altmeister moderner Lavin (as in note 2), p. 366; and Lavin, Baume geschuttelt und Amerika hat die Kunstgeschichte (as in note 5), p. 122, points "Ikonographie als geisteswissenschaftliche Friichte geerntet.' Zur Geschichte des out that the authors had extended Karl Disziplin" (as in note 2), p. 95 note 4. Kunstgeschichtlichen Seminars wahrend Giehlow's work on Diirer's hieroglyphs. des Nationalsozialismus," in Die The origins of the book and Giehlow's 24. For the earlier tradition, see Universitdt Gottingen unter dem contribution is described in Arpad Biafostocki, "Iconography and Iconology" Nationalsozialismus, ed. Heinrich Becker et Weixlgartner's foreword to Diirers (as in note 3), pp. 771-72. al. (2nd. rev. ed., Munich, 1998), pp. 470, "Melencolia I", pp. ix-xv. 476-77. We are grateful to Karl Arndt for 25. "Emmaus," in Reallexikon zur deutschen these references. Stechow praised 18. "Liconologie et son importance pour Kunstgeschichte (Stuttgart, 1967), vol. 5, cols. Vitzthum for "that combination of l'etude systematique de l'art chretien," 228-42; and "Erichthonius" (with Karl- scholarly conscientiousness with esthetic Rivista di archeologia cristiana 8 (1931), August Wirth), in op. cit., vol. 5, cols. sensibility which marked his every pp. 53-82. See Biafostocki, "Iconography 1241-47. approach to art-historical problems" in his and Iconology" (as in note 3), p. 774. obituary, "Georg Graf Vitzthum von 26. See Appendix 1 below; and Kon. Eckstadt," College Art Journal 5 (1946), 19. "Zum Problem der Beschreibung und Nederlandse Akademie der Wetenschappen, pp. 241-42. The insistence on the involve­ Inhaltsdeutung von Werken der bildenden Bijzondere Bijeenkonst derAfdeling ment of both aesthetic experience and Kunst," Logos 21 (1932), pp. 103-19; repub­ Letterkunde (March 13,1972), p. 10. For historical investigation in art history was lished in Kaemmerling, ed., Ikonographie another evaluation of iconographical also a hallmark of Vitzthum's predecessor und Ikonologie (as in note 2), pp. 185-206. studies of Rembrandt, see Jan Biafostocki, at Gottingen, Robert Vischer (1847-1933); Tkonographische Forschungen zu Udo Kultermann, The History of Art 20. Wollenhaupt-Schmidt, "Hitler hat die Rembrandts Werk," in Stil und History (New York, 1993), p. 151. Baume geschuttelt" (as in n. 13), pp.470-71, Ikonographie: Studien zur Kunstwissenschaft 474-76, documents Stechow's academic (Cologne, 1981), pp. 173-213. 14. For other facets of Stechow's years at career in Gottingen and emigration to Gottingen and an evaluation of his schol­ America. Stechow had been made associ­ 27. Panofsky's and Saxl's early iconographi­ arship in Dutch art, see Horst Gerson's ate professor in 1931. In 1932 he married his cal contributions to the field of Dutch art obituary, "Wolfgang Stechow, Kiel 1896- wife, Ursula; their son Hans-Achim was are sometimes overlooked: Erwin Princeton 1974," Kunstchronik 28 (1975), born in Germany in 1933, and daughters Panofsky, "Der gefesselte Eros (Zur pp. 216-22. Barbara and Nicola were born in the U.S. Genealogie von Rembrandts Danae)", in 1937 and 1945. Colin Eisler, Oud-Holland 50 (1933), pp. 193-217 (trans­ 15. Kurt Weitzmann characterized "'Kunstgeschichte' American Style: A lated as "Eros Bound: Concerning the Goldschmidt's unifying methodology in Study in Migration," in The Intellectual Genealogy of Rembrandt's Danae," in Adolph Goldschmidt und die Berliner Migration: Europe and America, igjo-ig6o, Schiff, ed., German Essays (as in note 10), Kunstgeschichte (Berlin, 1985), p. 6. ed. Donald Fleming and Bernard Bailyn pp. 255-75; and Fritz Saxl, Rembrandt's Warburg's relationship to Goldschmidt is (Cambridge, Mass., 1969), pp. 544-629, Sacrifice ofManoah (Studies of the chronicled in a draft letter of 1903 from discusses the expulsion from Germany of Warburg Institute, vol. 9) (London, 1939). Warburg to Goldschmidt, reflecting upon scholars of Jewish birth or ancestry. He different contemporary approaches to art quotes Stechow on teaching in America history; see E. H. Gombrich.^j/ Warburg, (ibid., p. 603). 12 28. In "The Love of Antiochus" (Appendix Essays in Honor of Erwin Panofsky, 40. Panofsky's well-known essay, "Three 8a, p. 236), Stechow cited a memoir by ed. Millard Meiss (New York, 1961), Decades of Art History in the United Gauguin in which the painter claimed to pp. 427-36- States: Impressions of a Transplanted have forgotten the antique subject of European," in Meaning in the Visual Arts a picture by Ingres that impressed him 31. "Jacob Blessing" (Appendix 6a), (as in note 23), pp. 321-46, deals explicitly visually. Stechow asked rhetorically: pp. 206-7. with some of these themes. See also "Humanism is dead, so why bother about Willibald Sauerlander, "Struggling with a classical subject matter and the burden of 32. The conviction that art history should Deconstructed Panofsky," in Meaning in tradition?" He went on to answer his own be practiced with a moral conscience was, the Visual Arts: Views from the Outside (as question: "We are no longer living in 1903. of course, shared by many art historians of in note 2), pp. 385-96. And unless I am entirely mistaken, the Stechow's generation and earlier. Stechow, new artistic order which is in the making, "Vitzthum" (as in note 13), p. 242, admired 41. For Warburg's collapse, see Gombrich, which has brought about a new under­ this precept in his former teacher and Aby Warburg (as in note 15), p. 216; on standing of the content and form of works colleague. On Warburg's similar scholarly Voge, who resigned his chair at age 48 by Ingres.. .seems to justify the thought principles, see Gombrich, Aby Warburg in 1916, see Panofsky, "Voge" (as in that what we really want today is not the (as in note 15), pp. 13-14. note 7), p. 27; for Vitzthum, see Stechow, waste but the independence and intelligent "Vitzthum" (as in note 13), p. 241. absorption of a great tradition." 33. "Dark Manner" (Appendix 3), p. 379.

29. Stechow's attitude towards Langbehn 34. "Jacob Blessing" (Appendix 6a), p. 207. may be surmised from the author's scathing criticism of W. von Seidlitz's 1922 35. His article on the representation of the catalogue of Rembrandt etchings (see Philemon and Baucis myth, for example, "Dark Manner" [Appendix 3], p. 369). A dwells upon parallelisms between the long-time director of the Dresden Ovidian story and the biblical Supper at Museum, von Seidlitz was a financial sup­ Emmaus (see "Philemon and Baucis" porter of Langbehn and identified with his [Appendix 4], p. in). views; Kultermann, The History of Art History (as in note 13), p. 131. Stechow's 36. It is worth noting that Warburg, too, otherwise incomprehensible remark in the was fascinated with the relationship same paragraph that "iconographical between Northern and Italian art; matters have been subjected [to neglect] Gombrich, Aby Warburg (as in note 15), during the last fifty years" (certainly no p. 27. longer true generally in 1940, when those words were written) may also refer to the 37. Stechow wrote about Baroque art in pernicious effect that Langbehn's book, general terms in his "Definitions of the published exacdy fifty years before, had Baroque in the Visual Aits," Journal of exercised upon Rembrandt studies. This Aesthetics 5 (1946), pp. 109-115; and "The was perhaps the closest Stechow ever got Baroque: A Critical Summary of the to a political batde in the guise of icono­ Essays by Bukofzer, Hatzfeld, and graphical correctness. Martin," Journal of Aesthetics 14 (1955), pp. 171-74. 30. Oskar Hagen (1888-1957), a fellow art historian who was conductor of the 38. (Appendix 11), pp. 34-35. Gottingen Academic Orchestra before he emigrated to the U.S., was the scholar who 39. Although Panofsky argued for harmony invited Stechow to teach at the University between the Renaissance and the classical of Wisconsin when he lost his job in 1936. past, he did not claim that any period of Hagen had involved Stechow in an ambi­ early modem art recaptured essential clas­ tious Handel revival in Gottingen in the sical ideals. He wrote, "this reintegration 1920s. We are grateful to Ursula Stechow [of classical themes with classical motifs] for this information. See also could not be a simple reversion to the Wollenhaupt-Schmidt, "Hider hat die classical past. The intervening period had Baume geschuttelt" (as in n. 13), pp. 470-71. changed the minds of men..."; Stechow also published on music and art, "Iconography and Iconology" (as in note e.g., "Problems of Structure in Some 22), p. 54. See also Anthony Grafton, Relations between the Visual Arts and "Panofsky, Alberti, and the Ancient ybisic, Journal of Aesthetics 11 (1953), pp. World," in Meaning in the Visual Arts, ed. 324-33; and "Johann Sebastian Bach the Lavin (as in note 2), pp. 123-30. Younger," in De Artibus Opuscula XL:

13 "?••

%&^ Rembrandt and the Old Testament

Wolfgang Stechow

Goethe once said, "Wer den Dichter will verstehen, that, he never ceased to respect, and to honor with muss in Dichters Lande gehen": "Who would all his artistic strength, one decisive heritage, understand the poet, must explore the poet's land," namely the Bible; neither did he cease to respect and we may well substitute the artist in general for and honor his mother and her memory in the role the poet in that context. Goethe surely did not of near-identification with the Bible. Whatever mean to say that you have to have visited Holland one may be inclined to think of Rembrandt's inner in order to understand Rembrandt, nor that to do personal life—and most of that is guesswork— so guarantees an understanding of Rembrandt's art. in the realm of faith he never knew either sham By "land" he meant of course the entire warp and or narrow-mindedness. The fact that to this day woof of space and time, of geographical and histor­ we cannot tell to which Protestant sect if any ical determinants, which is any person's cultural Rembrandt felt most attracted, speaks for rather environment and to which the artist is more sensi­ than against this statement. tive and more responsive than is the average person. Chesterton once said, facetiously but oh so cor- Rembrandt's "land," then, is Dutch seventeenth- recdy, "Art consists of drawing a line somewhere." century Protestant, a democratic bourgeois Therefore, the lecture you have kindly consented to civilization; the eternally fascinating spectacle is endure will restrict itself to Rembrandt's relation­ that of a genius responding to this environment, ship to the Old Testament. To those of you whose first—to a degree—as its product, later—to a concept of Rembrandt is defined by his representa­ higher degree—independent of it, but throughout tions of Christ, either as a single figure of ineffable with an artistic intensity and integrity that kindness and sadness, or as the mover of hearts and has allowed his work to endure for more than minds in his teachings, his miracles, his passion, his three centuries and will continue to do so for many appearances after his resurrection—to those among centuries to come. you the restriction to this artist's representations Cultural environment means in large measure from the Old Testament must appear to be a great cultural tradition, even where hostile reaction to that impoverishment. But as we proceed to explore tradition plays a major role. A survey of Rembrandt's land, we shall perhaps encounter in Rembrandt's life offers proofs of rebellion against his views of the stories from the Old Testament, so what would now be called the establishment, unfamiliar to most today, some facets of his genius including the theological establishment; but with all which are worth exploring further. The role of the Old Testament in the art of the seventeenth century was much greater than is Fig. 32. Rembrandt, An Old Woman Reading (Rembrandt's Mother as the Prophetess Anna), 1631, oil usually recognized, both in the Catholic countries on panel, 60 x 48 cm. Amsterdam, Rijksmuseum, and in the Protestant ones, among which the inv. SK-A-3066. 15 Netherlands was the only important one at that they painted, they did so for somebody or in any time as far as art is concerned. In Italy, scenes from case before everybody, and even their nudes, such as the Old Testament still played a decisive role, not Bathsheba or Susanna, were not solely painted for in altar painting properly speaking but yet in the the delight of the eyes (or for the delight, period). decoration of churches and chapels throughout the Only the Spanish artists of the seventeenth century country and throughout the century, as well as in neglected the Old Testament, or in any case, its an even larger number of pictures painted for typological parallelism with the New; Velasquez private edification and enlightenment; and the once did paint a picture with the Bloody Coat same is true of the Southern Netherlands, which being delivered to Jacob, but his companion piece had remained Catholic. The context of these does not represent a parallel from the New representations is in the vast majority of cases the traditional one which we call typological: scenes and figures from the Old Testament as harbingers of scenes and figures from the New Testament, a concept made extremely popular through the late medieval illustrations of the Biblia Pauperum, the Speculum Humanae Salvatoris, and other didac­ tic works. Judith, Esther, and Bathsheba signified Mary, the mother of God, liberator of souls, because of their roles earlier as liberators of their people; Gideon and his Fleece predicted the Virgin Birth; the list could be multiplied hundredfold. Blaise Pascal still believed in these parallels: "Le Vieux Testament est un chiffre," he said; and Poussin represented the Old Testament personified and carrying a sphinx on a book. Rubens filled the Jesuit Church in Antwerp with magnificent murals steeped in the same icono­ graphic lore; you have before you his modellos—the murals themselves are gone—for Abraham's Sacrifice, a prominent prototype of the Sacrifice of Christ; and Queen Esther before Ahasver, a scene predicting Mary's role as the mother of the Savior (figs, i, 2); both subjects we shall encounter again later on. Some Italian artists of the Seicento actually harked back to early Christian and medieval repre­ sentations of such typological parallels, and Poussin joined them in this enterprise. In a Florentine chapel, Jacopo da Empoli inscribed his interpreta­ Testament at all, rather one from Greek mythology, tion of Abraham's Sacrifice with the words: namely the Forge of Vulcan. "In figures praesignetur." This reference to Pre- In predominantly Protestant Holland there was figuration is as strictly medieval as it could but little room for ecclesiastical art. Although a possibly be. The notion—which was even shared by surprisingly large number of the great Dutch artists Emile Male, to whom we owe so much clarification of the seventeenth century were of the Catholic in these matters—that "left to themselves, the persuasion—Jan van Goyen, Philips Wouverman, artists of the seventeenth century saw in the Old Testament a tale, not a symbol, and they represent­ Fig. 1 (above). Peter Paul Rubens, Abraham's Sacrifice, ed the biblical episodes for the delight of the eyes," ca. 1620, oil on panel, 49.5 x 65 cm. Paris, Musee du Louvre, cannot be sustained to that extent; how many inv. M.I. 962. of those artists were "left to themselves"? When Fig. 2 (below). Peter Paul Rubens, Esther before Ahasver, ca. 1620, oil on panel, 33 x 31.5 cm. Vienna, Gemaldegalerie they were, they perhaps made drawings; but when der Akademie der bildende Kiinste, inv. 652.

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Jan Steen, and Adriaen van de Velde come readily the Dutch as a nation, that is, less in a predomi­ to mind—they had little chance or even desire to nantly theological and doctrinal sense and more in work for their churches, which were often hidden a political sense: the liberation of these two peoples from public view and received few new altarpieces, from their oppressors and the achievement of except in a few Catholic strongholds such as the political liberty Thus, Judith was just as dear to the city of Utrecht. Thus, we cannot expect to find here Dutch as she was to the Italians; although not so the kind of combination of Old and New much as a precursor of Mary and her role as Testament subjects which was so characteristic of liberator from sin, as in the role of a liberator of actual ecclesiastical painting in Italian and Flemish her people from the yoke of the Assyrians. It is churches. Still, the number of individual, privately probably no accident that the subject of Judith sponsored paintings with subjects from the Old presenting the head of Holofernes triumphantly to Testament was not much smaller than in the the people, as you see it in this painting by South; there was, however, a different spirit at work Abraham Bloemaert (fig. 3), occurs at an earlier in them. date in the North than in the South; in any case, First of all, the Old Testament was seen less in it does not occur anywhere before the last years of terms of typological parallels with the New the sixteenth century, the period in which Dutch Testament than in the South, and more in terms of independence was achieved. closer parallels between the Jews as a nation and Second, the Old Testament scenes were more popular with the common people in the Calvinist fig. 3. Abraham ruoermert, Judith Displaying the Head North, as may be expected in a democratic society, of'Holofernes to the People, 1593, oil on panel, 34.5 x 44.5 c and therefore we have fewer of those humanistically Vienna, Kunsthistorisches Museum, inv. 6514.

M3£ refined, even esoteric representations so often found Its main Dutch speaker was Dirk Coornhert, with the Italian and French masters who worked philosopher, theologian, poet, engraver, and for the Roman and French aristocracy. The learned publisher, and his ideas were spread in prints for approach of Poussin was altogether absent from the which he himself and his teacher, the Haarlemer Northern works, and the prints which flooded the Maerten van Heemskerck, made hundreds of market followed the same popular trend instead of drawings from the Old Testament as models for a appealing primarily to the connoisseurs as did the host of engravers. These often come in large series Italian ones. and frequently depict very little known stories Thirdly, and certainly in intimate connection from the Old Testament, represented for the sake with the two other points, all of the Old Testament of their purely moral rather than strictly religious stories were apt to take on a meaning which message. The drawing shown here (fig. 4) is from a referred primarily to general moral tenets and to series of six which was made by Heemskerck in 1561 everyday human situations and experiences. This to be engraved, and it tells the story of the arch- may sound strange to those of you who remember villain Queen Jezebel. In this drawing she the never-ending theological squabbles among the persuades King Ahab, sulking in his bed over Protestant ministers in seventeenth-century Naboth's refusal to sell him his vineyard, to have Holland. But here one may say that fortunately Naboth assassinated. Naboth is then falsely accused most of these theologians were quite obtuse with and stoned; Elijah appears before Ahab to bring regard to art, and that on the whole the middle- him the message of God's wrath; and in the finale, class population seems to have had a much better as in the introduction, Jezebel appears again and understanding for the artists' endeavors. Most reaps now the reward for her dastardly deed by important of all, the one truly supreme religious being torn to shreds by her own dogs—a simple artist Holland produced in the seventeenth century, Rembrandt van Rijn, was any­ thing but a sectarian—so little so that, as I already mentioned, we do not even know to which denomination he felt closest; and for him the Bible, which he knew by heart, was a fundamentally human document. It is interesting to observe that this less theologically defined, more straightforward­ ly moral and human interpretation of the Old Testament had already been sponsored in Holland by a v—— group of mid-sixteenth- ^V^.?*- •-.\ V \--'-:.V%a. - -'-—^WaT! century writers and artists who had not renounced the Old Church although they led a somewhat precarious existence on its fringe; it is the same Erasmian- Fig. 4 (above). Maerten van Heemskerck, King Ahab Sulking Catholic, rather anticlerical circle which has in Bed (Jezebel Promising Ahab the Vineyard of Naboth), pen recently been shown to have included, or at least and ink, 25.4 x 19.9 cm. Allen Memorial Art Museum, strongly influenced, the great Pieter Bruegel and Oberlin College, Friends of Art Fund, inv. 1950.51. some other inspired and independent personalities who continued to live in the Spanish-Catholic Fig. 5 (right). Gerrit Dou, Old Woman Reading a Lectionary (Rembrandt's Mother), oil on panel, 71 x 55.5 cm. Amsterdam, Southern Netherlands, in Antwerp and in Brussels Rijksmuseum, inv. SK-A-2627.

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a • but eloquent story of crime and punishment with late as the mid 1650s with an engraving in no overwhelming emphasis on the role of the Matthaeus Merian's very popular so-called prophet Elijah as one would expect it in a Catholic "Prentenbijbel" (Icones biblicae) of about 1625. Here, ambiance properly speaking, but rather a main the most prominent of the ferocious bears killing exhortation against cunning, crime, and, last but the boys who had taunted the prophet Elisha turns not least, against our own neighbor's constitutional out to be the unmistakable source (may I say rights. No wonder Heemskerck greatly appealed to forebear?) of Rembrandt's central animal. Specific Rembrandt. features of the Dutch Bible text used by Let us now return to Rembrandt himself and Rembrandt can occasionally be traced in his works. start from the beginning. In exactiy what form did During the Amsterdam years, after 1631-32, Rembrandt know the Rembrandt was in Bible? This question has intimate contact with intrigued art historians Jewish scholars as for some time, and they well as with the Jews have come up with a few in the street. In the significant facts. house he bought in Rembrandt's mother, 1639, located in the born and baptized 4M St. Anthony- one year before the Breestraat, which Reformation was later in the seven­ introduced into her teenth century was community, grew up with called the • m.- • a Bible translation that Jodenbreestraat (the preceded the Bible of the Jewish Breestraat)— General States, the he was near many of Statenbijbel, the Dutch the distinguished equivalent of the King members of the vast James Bible. The 1 ^ * . Si 1 Jewish community or Statenbijbel was decided rather communities, upon at the Synod of who had either lived Dordrecht in 1618 but there for long was not printed until or had found a new 1637. When his mother read from the Bible to the haven of refuge in the city on the Amstel; only in young Rembrandt, she probably used a Leiden recent times has this district become a poor Jewish edition of 1589, which contained the Old Testament district. He befriended the scholar and writer in a Netherlandish translation of Luther's version. Manasseh ben Israel and made illustrations for a But she also used another book as we know for book of his, and he consulted the physician certain from the portrait that Gerrit Dou, Ephraim Bueno to mention only two; he made Rembrandt's pupil during his Leiden years, painted etched portraits of both (fig. 6). of her: here, she is reading in a pericope, a book When he painted the Feast ofBelshazzar, containing excerpts from the Gospels and Epistles probably in 1639—the picture is now in the for each Sunday (fig. 5). In 1656, the year of his National Gallery in London (fig. 7)—he, alone of bankruptcy, Rembrandt still owned an "Old Bible," all painters of this subject, copied the "Mene, mene, thus clearly not the Statenbijbel, but possibly his tekel, upharsin," which appears so frighteningly on mother's Bible or her pericope. In works produced the wall, from a recent Jewish book in which the by Rembrandt throughout his entire career we can letters were placed vertically instead of horizontally also find memories of other illustrated Bibles he in a somewhat naive attempt to explain the confu­ must have seen in his early days; some of the illus­ sion they created among the King's councilors. It is trations they contained lingered in his mind for a well known (and has perhaps been sometimes long time, as you can see from a comparison of overstated) that Rembrandt went all out for oriental what is probably a copy of a drawing he made as costumes, both as an avid collector of such

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-ff.%4 Fig. 6 (left). Rembrandt, Ephraim Bonus, 1647, etching, • 1H drypoint and burin, 24.1 x 17.7 cm. Allen Memorial Art K«, • 5*3 Museum, Oberlin College, Gift of the Max Kade • • I • '.,i-: Foundation, inv. 1967.41. E§?". £ • Fig. 7 (above). Rembrandt, Belshazzar's Feast, ca. 1636-38, oil I on canvas, 167.6 x 209.2 cm. London, The National Gallery, inv. 6350. •teSf.y •••:>.. M K Fig. 8. Rembrandt, Abraham Entertaining the An 1656, etching, 15.9 x 13.1 cm. London, The Britis Museum, inv. 197^-0-1102. materials and as a painter of such glittering stuff. Angels received and hosted by Abraham are char­ Apparendy the concept of "Oostersch" (Eastern) acterized as the Trinity; the Western tradition saw covered a wide area for a sixteenth- and them as angels proper, while Rembrandt, in most of seventeenth-century Netherlander. Later in life his drawings, saw in them the Lord himself and Rembrandt became partic­ ularly fond of Persian- Indian miniatures made during his own or a slighdy earlier period, and the extent to which he identi­ fied that realm with that of Palestine can be gathered from the way in which he adapted one of those miniatures, which he had copied, for his representation of Abraham Entertaining the Angels in an etching of 1656 (figs. 8, 9). The print is remarkable in other ways: in the face of widespread Calvinist objections to rendering the figure of God the Father himself, Rembrandt, in this "public" performance, gave to one of the Angels the unmistakable counte­ nance of his own God the Father image, as we know it from his private draw­ ings, and this in imitation of a Persian sheik by the name of Husein Adahmiri! There is a mystery here which is perhaps either too complicated or too simple for iconographers to solve; my own guess is that this etching may turn out to be a strong hint at Rembrandt's connection with the most fiercely condemned Protestant sect of his time, namely the Socinians, who rejected the two more or less conventional angels; he seems to dogma of the Trinity. In Byzantine art, the three stress that these guests were the Lord himself accompanied by two angels who were decidedly not Christ and the Holy Ghost. Fig. 9. Rembrandt, Four Orientals Seated under a Tree, ca. 1656-61, pen and brown ink with brown and grey wash, The ways in which theatrical performances of touched with white, on oriental paper prepared with pale stories from the Old Testament may have affected brown wash, 19.4 x 12.4 cm. London, The British Museum, Rembrandt's representations have not been fully inv. 1895-9-15-1275.

23 H investigated. Julius Held has recently pointed out appreciated the earlier formulations, the profundity that the motif of Abraham's knife falling from with which he revised them rather than in new his hand, a characteristic feature of Rembrandt's "finds," as it were, in the Bible. In his drawings, a painting of 1635 (fig. 10, color ill. p. 55), is prefigured more private realm of his activity, he did go beyond in a stage instruction printed in Theodore de Beza's the circumscribed iconographic area, but in his [Besze's] play called Abraham Sacrijiant of about paintings and etchings we find few discoveries as 1550: "Ici le cousteau tombe des mains." Although far as the subject matter is concerned. And with in the play this feature is the result of Abraham's few exceptions—to which I shall return —these weakness and not of the angel's grip on his wrist, representations are factual ones, conceived as history the connection is plausible, the more so as de Beza's (in both their dramatic and their lyrical or idyllic [Besze's] play was widely known in Holland and elements), not symbolic or specifically didactic, and well-remembered by Rembrandt's friend far from the sophisticated, circumlocutory treat­ Constantijn Huygens from his school days. Yet this feature seems already to have occurred in a work by Rembrandt's teacher, Pieter Lastman (fig. 11). This same painting of 1635 can serve as an intro­ duction to a much more important— decisive—source for Rembrandt's renderings from the Old Testament, particularly in the "public" media of painting and etching, namely pictorial tradition. It has often been emphasized that on the whole Rembrandts iconography is a traditional one, that he rarely rep­ ment accorded them by the late Dutch Mannerists. resented biblical subjects that had not been Rembrandt's decision to become a painter of represented before in sixteenth- and seventeenth- history—biblical and otherwise—goes back to the century Dutch art, and that his great contribution year 1624, when for a short time he was the pupil of to religious art lies in the intensity with which he Pieter Lastman in Amsterdam. Lastman was not only instrumental in causing Rembrandt to devote a large portion of his religious Fig. 10 (left). Rembrandt, The Sacrifice of Isaac, 1635, oil on output to the Old Testament, but also offered him canvas, 193 x 132.5 cm. St. Petersburg, Hermitage, inv. 727. a choice of scenes from the Old Testament for his

Fig. 11 (above). Pieter Lastman, The Sacrifice of Abraham, paintings which Rembrandt eagerly adopted, not 1616, oil on panel, 36 x 42 cm. Paris, Musee du Louvre, inv. merely for himself but also for his own pupils—an R.F. 920. indication that Lastman's influence on Rembrandt, far from ending with the younger man's apprentice­ changes by Rembrandt's own hand, as is shown ship and early independent activity, extended both in x-rays and in a drawing in Budapest (fig. far into his maturity and into his own sphere of 16) made by one of his pupils from the picture's first influence. Rembrandt's Sacrifice of Isaac of 1635 (fig. state. Here the approach of the most aggressive 10) derives decisive elements from Lastman's paint­ elder is far more brutal than in Lastman's work: he ing of 1616 in the Louvre (fig. 11). In his earliest actually lays his hand on Susanna, who shrinks works, Rembrandt took over rare subjects from back in horror from his touch; a swan fluttering up Lastman such as the Prophet Balaam barred by the from the water underlines the dramatic impact. In Angel of the Lord and unconscionably venting his wrath on his poor ass—a picture to which I shall return later; this was in 1626 when Rembrandt was twenty years old, and such examples could easily be multiplied. But even in the mid 1630s Lastman was one of Rembrandt's primary sources, not only as to the Old Testament subject matter, but also as a "composer" of these stories. In 1614 Lastman had painted a Susanna sur­ prised in her bath by the two villainous elders (fig. 12); Rembrandt saw this picture again about 1635 and made a copy of it in red chalk which contains only a few slight changes (and these, I don't hesitate to submit, not all for the better) (fig. 13). He continued for quite a while upon this ground, but with a characteris­ tic expansion of range. In a small, sketch-like painting of 1637 (fig. 14) he concentrated on Susanna's protective gesture under the impact of a noise in the bushes, as it were, rather than reveal­ ing the actual appearance of the elders. About the same year, 1637, he began to work on a stately picture, now in Berlin (fig. 15). As you can see, Lastman's work is still 1647, ten years later, this brutality was repulsive to clearly recognizable here as the main source in Rembrandt; painting over the canvas, which for general setting and in the landscape of the left some reason was still either in his possession or at background. But this picture underwent drastic least accessible to him, he withdrew the hand from Susannas body, quieted down her countenance,

Fig. 12 (left, above). Pieter Lastman, Susanna and the Elders, deleted the noisy swan—and made of the picture 1614, oil on panel, 42 x 58 cm. Berlin, Staatliche Museen a greater coloristic feast than Lastman (or, for that Preussischer Kulturbesitz, Gemaldegalerie, inv. 1719. matter, the early Rembrandt himself) had ever dreamed of. Over and over again, dramatic noise Fig. 13 (left, below). Rembrandt (after Pieter Lastman), Susanna and the Elders, red chalk with grey wash, 23.5 x 36.4 turned to eloquent silence in Rembrandt's later cm. Berlin, Kupferstichkabinett, Sammlung der Zeichnungen works; and even those later works which returned und Druckgraphik, Staatliche Museen zu Berlin-Preussischer once more to dramatic subjects or interpretations Kulturbesitz, inv. KdZ 5296. on the basis of new personal or artistic Fig. 14 (above). Rembrandt, Susanna Bathing, 1636, oil on circumstances, were almost invariably followed panel, 47.2 x 38.6 cm. The Hague, Mauritshuis, inv. 147. by de-dramatizations of their decisive features.

27 H2^*yi %*&, H

'ig. 15 (left, above). Rembrandt, Susanna and the Elders, 1647 >il on panel, 76.5 x 92.8 cm. Berlin, Staatliche Museen Jreussischer Kulturbesitz, Gemaldeealerie, inv. 828E.

Fig. 16 (left, below). Attributed to Barent Fabritius, Susanna and the Elders, ca. 1647, pen and brown ink, brown and grev washes over red chalk, 17.8 x 21.8 cm. Budapest, Szepmuveszeti Muzeum, inv. 1737.

Fig. 17 (above). Rembrandt, Adam and Eve (The Fall of Mai, 1638, etching, 16.2 x 11.6 cm. London, The British Museum,

Those historians who believe that Rembrandt that I feel that Rembrandt's highly unusual repre­ was intimately allied with the Mennonites and sentation of Adam and Eve in an etching of 1638 perhaps even a clandestine member of their sect, (fig. 17)—not, as was customary, as beautiful bodies have stressed the undeniable fact that the during and even after the Fall, but as corrupt and Calvinists, to whose church Rembrandt belonged ugly even at the very moment of listening to the according to all official evidence, had comparatively Serpent—may well be based on Menno's relendess little use for the Old Testament. Calvin himself characterizations of the Fall as it is given most treated it as "history in the shade," and what he saw impressively in the "Confession of the Distressed in it he related primarily to his tenet of God's irrev­ Christians" of 1552: "This (i.e., the fact that the Tree ocable selection or damnation. This was rejected by of Knowledge was forbidden by penalty of death) Rembrandt, the artist, while he basically shared also came true, for as soon as Adam and Eve, Calvin's reluctance to see in the Old Testament a deceived by the serpent, ate the forbidden fruit, prefiguration of the New Testament along late they became impure, unrighteous, subject to cor­ medieval lines and agreed with the Calvinists' call ruption, of a sinful nature, yea, children of death for hospitality to the Jews. It is true that Menno and of the devil. And by their disobedience they Simons, the founder of the Mennonite sect, shows less rather than more familiarity with the Old Testament than does Calvin, but the little he uses Fig. 18 (left). Rembrandt, Tobit and Anna, 1626, oil on panel, seems to have been interpreted by him in a more 39.5 x 30 cm. Amsterdam, Rijksmuseum, inv. SK-A-4717. simple, straightforward manner that might well have appealed to Rembrandt. I shall return to one Fig. 19 (below). Rembrandt, Anna Accused by Tobit of Stealing the Kid, 1645, oil on panel, 20 x 27 cm. Berlin, Staatliche of these cases later but I may perhaps say right here Museen Preussischer Kulturbesitz, Gemaldegalerie, inv. 805.

31 lost their sonship and the purity in which they were by an audience of significant size, regardless of created." Rembrandt shows them, to be sure, before whether he was commissioned with such works or eating the fruit, but already overshadowed by the was simply able to count on purchasers of a paint­ serpent which, true to the Bible, is not yet "going ing or a goodly number of impressions from his upon its belly." copper plates. And here, as in the majority of cases, Also, Menno was very fond of some of the Old Rembrandt was able to base his interpretations on a Testament Apocrypha, which were expelled from distinguished pictorial tradition, this time provided the canonical Bible in the King James version but not so much by Pieter Lastman as by the much were tolerated, if somewhat neglected, by most of older Maerten van Heemskerck, whose Queen the Calvinists; the Book of Tobit, one of Jezebel drawing I adduced earlier as an example of Rembrandt's favorite Old Testament tales, a vast repertoire of Old Testament representations remained a canonical book for the Mennonites for of sixteenth-century prints available to Rembrandt a long time to come. and anyone else interested in it. These factual, This love of Rembrandt for the Book of Tobit straight-forward reports from the Old Testament, has been the subject of an enlightening and containing little theology and much human warmth delightful booklet by Julius Held, and I shall select and charm, had a tremendous appeal for but a few high points from the large opus of Rembrandt. And here again, it is the dramatic Rembrandt's interpretations, calling your special quality of some events which fascinated him most attention to the fact that these include a consider­ able number of paintings and etchings, that is, Fig. 20. Rembrandt, Anna and Tobit, 1659, oil on panel, 40.3 x public statements by Rembrandt. This fact indicates 54 cm. Rotterdam, Willem van der Vorm Foundation, that his interest in that apocryphal book was shared Museum Boijmans van Beuningen, inv. VdV 65.

32 in his early years, and the quieter, more subdued mention of their son Tobias in the apocryphal tale. facets of the same event or of other situations Certainly the Berlin picture closely anticipates the which he preferred in his later years, when he wonderful one of 1659, now in the van der Vorm wrested from the earlier formulations (those by Collection in Rotterdam (fig. 20), in which the others and those of his own) a greater profundity of endless wait for Tobias' safe return—which was also interpretation and a greater simplicity of form. to bring new eyesight to the blind old man—has Thus, in a very early painting, done in 1626 (fig. 18), found its most touching interpretation. The most Rembrandt, following an example of Heemskerck, characteristic of Tobit's actions at the moment of concentrated on the quarrel old Tobit had with his his son's return is that of the blind old man stum­ wife Anna about a young goat which she had bling toward the door through which the little dog, received as a gift from her employer and which he young Tobias' faithful companion, has just entered; had rashly suspected to have been stolen. By 1645, I shall return to this concept later. in the painting in Berlin (fig. 19), the kid has One of Rembrandt's favorite figures from the become less important; it is still there, and in Old Testament was David—and it is not difficult Tobit s raised hand one still senses an objection to to understand why this should be so. For David is it but one is now aware of the fact that these are the most tragic and therefore the most human two lonely oldsters who would not easily fight seri­ figure in that book. Lastman had painted David in ously over such trifles. Rather, one is tempted to the Temple, a somewhat empty and grandiloquent project into this large, dark room an inkling of the glorification of the king as much as of his Lord old couple waiting for the return of their son, (fig. 21); Hendrick ter Brugghen celebrated David although the story about the goat precedes any as the great musician, inspired by angels, but already hinted at some tragic overtones (fig. 22). For Rembrandt this man was primarily either the Fig. 21. Pieter Lastman, David in the Temple, 1618, oil on instrument of God or the sinner and penitent. panel, 79 x 117 cm. Braunschweig, Herzon Anton Ulrich- True, in a very early painting, he was the conqueror Museum, inv. 208. of Goliath returning home and proudly displaying

33 the giant's head; and in another early work (fig. 23), the drawing of the Metropolitan Museum (fig. 25): the very young David nearly became the victim of a King David whose regal splendor dissolves into mad King Saul raising his javelin to transfix the boy Everyman's contrition before the reproachful voice who was playing the harp for him. But how differ­ of the Prophet Nathan. Saul or David, their power ent the large, late painting of the same subject has done its job of corrupting them, and their rich (fig. 24; color ill. p. 58)! Strictly speaking, it is not garb hides common human frailty. exacdy the same subject, for the Bible tells the story The story of Esther, who by her beauty, twice and each time somewhat differendy, and only intelligence, and dignity won the favor and the one passage speaks of Saul's attempt on David's life hand of King Ahasver and caused him, the foreign while the other despot of Israel, to relates only how save her compatri­ the melancholy of ots from the evil Saul was soothed designs of Haman, by David's music. is told in the But it is of course canonical Book of highly significant Esther with a that the young, continuation in the dramatically apocryphal book minded painter of the same name. should have It was enormously chosen the popular with melodramatic Dutch poets and passage—and dramatists, was given it quite a often represented touch of ham- in prints of the acting, sixteenth and too—whereas the seventeenth cen­ mature, wise turies, and had a Rembrandt of profound appeal to around 1660 elimi­ Rembrandt. nated the noise of For Catholics the earlier years of the seventeenth and arrived at century—as we what I still believe saw in a picture by is one of the great­ Rubens (fig. 2)— est and most Esther, like Judith moving depictions of the power of music ever and Bathsheba, was primarily the prototype of the painted—music that brings tears to the eyes of the Virgin Mary; for the Erasmian Catholics around aged King, whose javelin now lies harmless in his Coornhert and Heemskerck she was primarily arm and who gropes for the nearest object with the savior of her people; and in that light she was which to dry his moist eyes. But perhaps the great­ for Rembrandt and other Dutch artists of the est proof of Rembrandt's ability to humanize the seventeenth century a heroine of Dutch liberty and once so unapproachable rulers of the Israelites independence from the Spanish yoke as well. while yet remaining entirely within the orb of the When the young Rembrandt represented the Bible itself, is the fact that for him, Saul and David story in the large painting now at Raleigh (fig. 26) became brothers in human tragedy, sin and atone­ —I still believe it is by Rembrandt and not by his ment. For the powerful but all-too-human King Leiden friend and rival, Jan Lievens—he seems to Saul of the painting in The Hague, whose regal have been uncertain of the best method of compos- splendor dissolves into Everyman's tears before the young harpist's playing, is the same man as the Fig. 23. Rembrandt, David Playing the Harp for Saul, ca. 1629, powerful but all-too-human King David himself in oil on panel. Frankfurt, Stadelsches Kunstinstitut, inv. 948.

35 Fig. 24 (above). Rembrandt, David Playing the Harp for Saul, Fig. 25 (below). Rembrandt, Nathan Admonishing David, pen ca. 1655, oil on canvas, 130 x 164.3 cm- The Hague, and brown ink, with white gouache, 18.6 x 25.3 cm. New York, Mauritshuis, inv. 621. The Metropolitan Museum of Art, Bequest of Mrs. H. O. Havemeyer, 1929. The H. O. Havemeyer Collection, inv. 29.100.934. 1 ^M 1 /i 11 v ff , ^fl • Fffi vifli L^fl

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Fig. 26 (above). Jan Lievens, The Feast of Esther, ca. 1625-26, Fig. 27 (below). Gerrit van Honthorst, The Procuress, 1625, oil oil on canvas, 134.6 x 165.1 cm. Raleigh, North Carolina on panel, 71 x 104 cm. Utrecht, Centraal Museum, inv. 152. Museum of Art, inv. 52.5.55. ing the scene of the banquet during which Esther in terror, sits in silent shame pondering his guilt opened the eyes of the king to the wicked planning and his fate. Esther has no need of pointing accus­ of Haman and provoked his wrath toward his ingly at him, her gesture is eloquent but subdued; counselor. Probably unfamiliar with previous large- the king shakes no fist, rolls no eyes, and the scale solutions of the problem, and groping for a scepter in his calm right hand suffices to indicate convenient pattern, he borrowed it from another his judgment. Such drama as is given here rests group around a table in which the horizontal lining entirely on silent relationships: no shouts, no up of three figures is similarly combined with a threats, no cunning. A masterful stroke is the closer repoussoir effect, dark against light, in the fore­ drawing together of Ahasver and Esther; these are ground. Groups of this kind appear frequendy in husband and wife, one body and one mind, there representations of the Supper at Emmaus, and also can be no doubt as to their decision. Esther's robe in secular scenes painted by the Utrecht Caravaggio bespeaks incontrovertible majesty, her beautiful followers such as Gerrit van Honthorst in adapta­ face more sadness than accusation; Haman is tions of the Italian master's religious subject (fig. 27). condemned to isolation, and with that, to perdition. At age nineteen, Rembrandt had no earthly reason The profundity of interpretation captured in a to shrink from such an adaptation, and the picture composition, which as such is still very similar to indeed achieves a certain majesty and a magnificent the traditional one, is drastically revealed by a coloristic effect in spite of its crudities. comparison with the earlier picture by Honthorst When Rembrandt returned to the same subject or with one by Jan Steen which was painted but a in his late period, the histrionics were gone for good. In 1660, in the painting now in Moscow Fig. 28. Rembrandt, Ahasver, Haman and Esther, ca. 1660, oil (fig. 28), there is only a trio; the fourth figure has on canvas, 73 x 94 cm. Moscow, State Pushkin Museum of been eliminated. Haman, instead of drawing back Fine Arts, inv. 297.

38 few years later than Rembrandt's (fig. 29). This is a that case, there could hardly be so much doubt picture of great brilliance in composition and color, about its subject, or—in other words—so much of a indeed a masterpiece in its own right; its theatrical chance to call it four different things. Are we then setup is quite genuine—this is the way in which justified in saying that basically Rembrandt clung such scenes were acted out on the Dutch stage of to traditional iconography? Does not this ambiva­ the period—but compared with the later Rem­ lence involve the opening up of entirely new vistas brandt's tragic Adagio this bustling Allegro confuoco of which the story as such reveals only a part? is all on the surface. I think this qualm is valid in the present case, I shall carefully avoid committing myself for and in a few other ones as well, without jeopardiz­ good on the subject of another great painting by ing the essential correctness of the view that Rembrandt was basically intent on reinterpreting an already extant corpus of biblical iconography. Completely new subjects are rare; as an example I am showing you the splendid painting of 1635 in Chatsworth, the subject of which had gone unidentified until very recently (fig. 31). The man in a priest's garb and with an expression of shocked dismay on his face is with the greatest probability King Uzziah, who had sinned by usurping for himself the office of a priest and whose face is struck by leprosy in divine retalia­ tion. It is interesting that Rembrandt seems to have availed himself of the Rembrandt, now in the Hermitage in Leningrad, story as narrated by Flavius Josephus rather than which until recently was rather universally called as told in II Chronicles 26:19. Let me here add a Haman's Disgrace or Haman's Condemnation (fig. 30; few words on some exceptional occurrences which color ill. p. 56). Former identifications of the sub­ point to elements beyond an exclusively historical jects, surely both unacceptable, include the Wrath conception in Rembrandt's approach to the Old of Jonathan and King David sending Uriah out to Testament. die in battle; the most recent proposals pertain to the Last Meeting of David and Saul, and to Joseph One new dimension, sometimes added to retiring sadly from the company of his brothers biblical scenes, consists of connections between after they have recognized him. But neither one that biblical story and special circumstances in seems to me preferable to the one which sees here a Rembrandt's personal life. When as a young artist condemned Haman leaving the presence of King he represented his mother, clearly recognizable as a Ahasver and one of his counselors. But regardless portrait, in the guise of the prophetess Anna of what this scene really meant to Rembrandt or reading in a Hebrew Bible (fig. 32; ill. p. 14 and p. 42), his patrons, about whom as usual we know nothing, it brings us back once more to a difficult question: Fig. 29. Jan Steen, The Wrath ofAhasuerus, ca. 1671-73, oil is this still history of the kind that Rembrandt on canvas, 129 x 167 cm. Birmingham, England, The Barber learned from Lastman and from Heemskerck? In Institute of Fine Arts, The University of Birmingham, inv. 39.22.

39 he opened up one such new vista; this is a true syn­ projected into the biblical story personal experi­ thesis of history and portraiture. In the etching of ences with his own old father who according to all 1651 (fig. 33), he represented the blind Tobit groping appearances was or became blind; we know now for his way to the door and pathetically missing it, as certain that the familiar old man who appears in so the little dog, first to arrive, announces his son's many early works by Rembrandt was not his father, return. As Mr. Held has suggested, Rembrandt here but that the latter must be identified with the old and probably blind man of the Oxford drawing which bears the inscription, perhaps by Rembrandt's hand, Harman Gerrits van Rijn (fig. 34). On the lighter side I have the sneaking suspicion that when Rembrandt took up the extremely rare subject of Samson threatening his father-in-law, he alluded to another facet of his own family life (fig. 35). A striking picture in Edinburgh used to be called simply "Hendrickje (Rembrandt's second wife) in Bed" (fig. 36). The features are indeed Hendrickje's, but it has become almost certain that this is a fragment of a rep­ resentation of the biblical story concerning Sarah, the young wife of Tobias, watching her husband on their wedding night as he exorcises the devil who had killed all her previous husbands with appalling regularity on the same joyous occasion; in fact, Rembrandt's teacher, Pieter Lastman, had painted that same story before (Museum of Fine Arts, Boston) and Rembrandt himself gave us the same scene in the Fig. 30 (left). Rembrandt, Haman Recognizes his Fate {The Downfall of Haman), ca. 1665, oil on canvas, 127 x 117 cm. wonderful late drawing illustrated here (fig. 37). St. Petersburg, Hermitage, inv. 752. The identification of the two lovers in one of the greatest of Rembrandt's late paintings, the Fig. 31 (above). Rembrandt, King Uzziah Stricken with so-called Jewish Bride, with his own son and Leprosy, 1635, oil on panel, 101 x 79 cm. The Devonshire Collection, Chatsworth. Reproduced by permission of the daughter-in-law has long been abandoned (fig. 38). Trustees of the Chatsworth Settlement. Yet these must have been people who were very

41 Bi

rig. 32. tvemDranar, /in uia woman neaaing (Rembrandt's Mother as the Prophetess ylnna), 1631, oil on panel, 60 x 48 cm. Amsterdam, Rijksmuseum, inv. SK-A-3066. #H .._1 if iWfSirfMk

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~*slt close to Rembrandt's heart, and they do appear in before us with almost relentless drama: Joseph an Old Testament guise, namely as Isaac and trying to persuade his blind father to give the main Rebekkah; but in the final form of the painting blessing to the elder instead of the younger son. Rembrandt completely eliminated the biblical story This protest has almost completely disappeared in which was still on his mind when he made the the late work, in which Joseph's shifting attempt is preparatory drawing for that picture. In that barely visible. In order to emphasize the scene as a drawing King Abimelech is clearly seen spying on blissful departure of the aged patriarch, Rembrandt the couple from the distance to the right. has added the figure of Asenath, Joseph's Egyptian Also, there are some indications that Rem­ wife, who appears only in a few previous—mostly brandt was fully aware of at least a few of the old medieval—renderings of the scene and was proba­ typological parallels between the Old and the New bly not suggested to Rembrandt from pictorial Testaments and he incorporated allusions to them tradition but by his familiarity with certain Jewish in some of his works. In 1656, he painted Jacob sources. While this by itself is exceptional, even Blessing the Children of Joseph, the large, wonderfully more so is Rembrandt's unmistakable characteriza­ glowing picture now in Kassel (fig. 39; color ill. tion of the younger son Ephraim as related to p. 57). Here the silence in quiet bliss contrasts Christianity by the addition of a halo around his vividly with the turbulent drawing of the 1630s blond head. Each Christian interpretation of the (fig. 40) in which the whole family feud is displayed story saw in it a prefiguration of Baptism and the

Fig. 34 (above). Rembrandt, Rembrandt's Father, ca. 1630, red and black chalk, with brown wash, 18.9 x 24 cm.^Oxford, Ashmolean Museum, inv. 45.

Fig. 35 (right). Rembrandt, Samson Threatening his Father-in- Law, ca. 1635, oil on canvas, 158.5 x 130.5 cm. Berlin, Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie, inv. 802. 44 W I 1

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Fig. 36 (above). Rembrandt, Hendrickje in Bed, 1647, oil on canvas, 81.3 x 68 cm. Edinburgh, National Gallery of Scotland, inv. 827.

Fig- 37 (right, above). Rembrandt, Tobias and Sara Praying, ca. 1648-50, pen and bistre with corrections in white body color, 17.2 x 23.2 cm. New York, The Metropolitan Museum of Art, Rogers Fund, 1906, inv. 06.1042.2.

Fig. 38 (right, below). Rembrandt, The Jewish Bride, ca. 1662, oil on canvas, 121.5 x 166.5 cm- Amsterdam, Rijksmuseum, inv. SK-C-216. V

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•jl r **• cross of Christ (because of the crossed hands of because it is not always specifically alluded to in Jacob), and in the preference of Jacob for the recognizable detail, but we may derive an inkling of younger son a prefiguration of the Christian gentile what the artist and his audience implied with such nations being chosen over the Jewish nation. It is a story from non-artistic sources. In this connection this suggestion which Rembrandt retained (rather I should now like to refer to Lastman's and to the than the crossing of hands which hardly shows at young Rembrandt's representations of the story of all) but it is characteristic of him that he indicates the prophet Balaam (figs. 41, 42). One can perhaps no concern or disappointment in the face of the see in this no more than a somewhat obscure event elder, dark boy, Manasseh. This is in contrast to which appealed to these artists because of the Guercino's painting of the same scene of 1620, in speaking ass—he certainly speaks his mind—or which the elder boy's starded look clearly suggests because of the temporary downfall of a man of dismay (London, collection Sir Denis Mahon). God. Yet, Menno Simons, who on the whole is no The aged Rembrandt remembered well that more typologically-minded than were the Calvinist Jacob said of Manasseh: "He, too, shall be great." Dutch theologians of Rembrandt's time, has this to Symbolic connections between the Old say on Balaam (in his main work, the "Foundation Testament and the New Testament are thus not of Christian Doctrine," first published in 1539): "Oh entirely alien to Rembrandt's art. They may actually Balaam, Balaam, how long will you so unmercifully be more frequent than we normally assume; it is kick and cuff the poor ass which has to bear all not always possible to prove that relationship the reproachful scorn and disgrace for the sake of 48 ./

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Fig. 39 (left). Rembrandt, Jacob Blessing the Sons of Joseph, 1656, oil on canvas, 175.5 x 210.5 cnn- Staatliche Museen Kassel, Gemaldegalerie Aire Meister, inv. GK 249.

Fig. 40 (above). Rembrandt [attr.], Jacob Blessing the Sons of Joseph, tnid-i630s, pen and brown ink, 10.7 x 11.5 cm. Amsterdam, Rijksprentenkabinet, inv. 1905: 263. testimony to his master, Christ? Will you never identification with Timotheus and his grandmother listen to how he answers you in a human voice and has nothing whatever to recommend it. The older reproves your great folly and error? Will you not (and again more recent) identification with Hannah hear that he is encountered by an angel with and her son Samuel, the later prophet, seems to be unsheathed sword, that is, by the Spirit and the likewise defeated by the presence of the Simeon Word of the Lord, that he can bear you no longer scene in the background. I am convinced that the in your ungodly deeds?" It is only fair to add that woman must be identified with the prophetess this proves nothing about Rembrandt's personal Anna—who invariably witnesses the Presentation contact with the Mennonites. Although his inter­ to Simeon in Rembrandt's paintings, etchings and pretation of the story surely is more congenial with drawings; and I also believe that this once more Menno's words than is Lastman's, the subject was involves the identification of the Prophetess Anna treated first in a painting by Lastman and was with Rembrandt's mother which we have encoun­ passed on to Rembrandt by him—and Lastman tered before—thus again a kind of autobiographical remained a Catholic all his life! The typological suggestion (fig. 44). In any case, this picture element involved in the quotation from Menno was therefore a natural clement for him. namely that the story of the Presentation in the Finally one other hint at Rembrandt "typology." Temple, a New Testament story prominently When Rembrandt placed an old woman, reading reported in the Gospel of St. Luke, is in itself a from the Bible to a child, in the foreground of a Jewish Temple and showed in the background quite Fig. 41 (below). Pieter Lastman, Balaam's Ass, 1622, oil on unmistakably old Simeon taking the Christ child panel, 40.3 x 60.6 cm. Jerusalem, Israel Museum, Anonymo into his arms in the presence of the uncompre­ gift through the American Friends of the Israel Museum, hending parents, we must ask first and foremost New York, inv. B97.0069. who this woman and this child are (fig. 43). The Fig. 42 (right). Rembrandt, Balaam's Ass, 1626, oil on panel, 65 x 47 cm. Paris, Musee Co w. w

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decisive link between the Old and the New With this action Simeon took over the tradi­ Covenant. Rembrandt was extraordinarily fond tional role which the child's parents were prepared of this story and represented it over and over again to play but which, through this token of Christ's in paintings, etchings, and drawings. Simeon was a divinity became, as well, an inspired synthesis of the pious old Jew who had been promised that he two Covenants. Rembrandt's reverence for the Old would see the Lord before his death; the prophetess Testament could not be illustrated by a more elo­ Anna had received a similar revelation. Both were quent example than this extraordinarily beautiful aware of the representation coming, the pres­ of the greatest ence of the Savior, event in whereas the Child's the childhood parents divined of Christ. nothing and had come to the Temple simply to 1 present their first­ born to the High Priest according to the Jewish Law. In his last etching of this subject, Rembrandt, more than any other artist I know of and more than he himself had suggested before, dwelt upon the fact that Simeon, though he recog­ nized the child as the Savior, was, after all, a Jew; he

therefore showed the old man, not in the usual act Editor's note: of taking the child from his parents but—in a last minute decision as we know from a preparatory On Old Testament subjects in seventeenth-century drawing—presenting the child, after receiving Dutch art, see now Christian Tumpel et al., in Het Him in his arms, to the High Priest, whom he had Oude Testament in de Schilderkunst van de learned to look upon as the representative of the Gouden Eeuw (exh. cat. Amsterdam, Joods Historisch Lord in the Jewish temple. Museum and Jerusalem, Israel Museum; Zwolle, 1991), as well as Christian Tumpel, Rembrandt: Mythos und Methode (Konigstein, 1986). Fig. 43 (left). Rembrandt, The Presentation in the Temple, ca. Although the last digit of the date on the London 1654, etching and drypoint, 21 x 16.2 cm. Allen Memorial Art Belshazzar's Feast is lost, this picture has since been Museum, Oberlin College, Gift of the Max Kade assigned a date ofca. 1636-38, based on stylistic Foundation, 1967.46. similarities with dated paintings from that period; see Fig. 44 (above). Rembrandt, Old Woman Reading a Book J. Bruyn, B. Haak, S. H. Levie, P.J. J. van Thiel, E. (Anna), 1655, oil on canvas, 80 x 66 cm. In the collection of van de Wetering et al., A Corpus of Rembrandt the Duke of Buccleuch and Queensberry, KT (on loan to The Paintings, vol. 3 (Dordrecht/Boston/Lancaster, 1989), National Gallery of Scotland). cat. A no. The traditional terminus post quern of

53 Menasseh ben Israel's De termino vitae (pub. 1639), which has been proposed as the likely source for Rembrandt's Hebrew inscription, is also discussed there. Held suggested a relationship between Beza's [Besze's]play and Rembrandt's Sacrifice of Isaac in: Rembrandt's Aristotle and Other Rembrandt Studies (Princeton, 1969), pp. 122-24 (noie 29)i Ms information was added there to the text of his study "Rembrandt and the Book of Tobit" (pp. 104-29), origi­ nally published as a separate volume (Northampton, Mass., 1964). The attribution of the Feast of Esther in Raleigh to Jan Lievens, first proposed by Horst Gerson (Hembrandt: The Complete Edition of the Paintings, by A. Bredius, revised by H. Gerson [London and New York, 1968], p. 616), is now generally accepted; see idem, in Geschildert tot Leyden anno 1626 (exh. cat. Leiden, Stedelijk Museum het Lakenhal, 19J6-JJ), cat. S29, p. JI; and more recently, Corpus of Rembrandt Paintings, vol. 1 (1982), cat. C2. The late painting in St. Petersburg is now commonly titled'The Downfall of Haman (Haman Recognizes his Fate); recently, however, the attribution of the work to Rembrandt has been doubted (see below, p. 63).

Right: Rembrandt, The Sacrifice of Isaac, 1635, oil on canvas, 193 x 132.5 cm. St. Petersburg, Hermitage, inv. 727.

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Left: Rembrandt [Pupil of Rembrandt?], Downfall of Haman (Hainan Recognizes his Fate), ca. 1665, oil on canvas, 127 x 116 cm (50 x 45 5/8 in.). St. Petersburg, The Hermitage,

Above: Rembrandt, Jacob Blessing the Sons of Joseph, 1656, oil on canvas, 175.5 x 210.5 cm-- Staatliche Museen Kassel, Gemaldegalerie Alte Meister, inv. GK 249.

The Crisis in Rembrandt Research51"

Wolfgang Stechow

The crisis which has gripped the state of research identifications of subject matter have convinced on the paintings of Rembrandt shows no sign and pleased everybody. Yet there is much dissent of abating. The painting with David before Saul in each field, some of it violent. Here I want to (fig. i) in the Mauritshuis and the spectators in give a sketch of one inquiry, which I feel would the Prodigal Son (fig. 2) in Leningrad have have interested Milton Fox: Is there a connection already been taken away from the master, between these two areas of trouble, and if so, together with many less famous pieces, and it is which? certain that the end has not been reached. At Let us consider first the questions of why the the same time, debates concerning the iconogra­ matter of authenticity of so many paintings can phy of some of Rembrandt's major works are possibly be complicated in view of the fact that a in full swing and show signs of increasing considerable number of the doubted works are frustration and confusion. The great painting in signed with unimpeachable signatures. The Leningrad, the subject of which was for a long leaders of the main group of skeptics have been time almost universally identified as the Downfall vague in referring to the method which in their of Haman (color ill. p. 56), has more recently been opinion enabled them to state that Rembrandt called David's Departure from Saul andAbner had the right to sign works executed by his and Joseph Turning away from Judah and Reuben; students. In his apologia Gerson says only: "It the Cologne Laughing Self-portrait has been seems...that Rembrandt sold his pupils' work," shifted from Rembrandt-Democritus to Rembrandt and for this statement he refers to the document and Terminus—and back. of ca. 1635 which does say that Rembrandt sold In both areas—style and iconography— {verhandeli) some works by "Fardynandus" definite advances can fortunately be registered. (presumably Ferdinand Bol) and "Leendert" Some attributions of former periods have been (presumably Leendert van Beyeren). Gerson dropped to the satisfaction of most; some new continues: "Did he overpaint them, did he sign them [emphasis added]?" and leaves it at that, except for repeating later, equally tentatively, that "there have been (probably) studio-works Fig. 1. Rembrandt, David Playing the Harp for Saul, ca. 1655, oil signed by Rembrandt himself." The step from cm on canvas, 130 x 164.3 - The Hague, Mauritshuis, inv. 621. Rembrandt as seller of works by two of his pupils to his signing them with his name is a crucial ^< Reprinted with permission from Art Studies for one, and not a single proof of its ever having an Editor: 23 Essays in Memory of Milton S. Fox been taken is available; in fact, the inscription (New York: Harry N. Abrams, Inc., Publishers, 1975, "Rembrandt verandert. En overgeschildert 1636" PP- 235-40). 59 ma

11 on the Munich version of the Leningrad Sacrifice the picture in favor of a possible attribution to of Abraham speaks strongly against that assump­ three totally different artists, one of whom was tion, even though its exact meaning is still being almost a generation younger than the two others. debated. To be sure, the surface of the picture has suffered But that assumption is surely the only from "ironing" and abrasion, as is the case with so possible explanation of the astonishing neglect many other paintings by Rembrandt, but that of Rembrandt's signatures. To mention but one certainly has no bearing on its attribution— example: In Gerson's new edition of Bredius' although lots of confusion has resulted from corpus of Rembrandt paintings one finds the insufficient consideration of this fact. following entry on Portrait of a Young Student in If signatures are of no consequence, what do the Cleveland we have—in the Museum (fig. 3): absence of other "Signed (?): documentation? Rembrandt 16.." One will have to There is no record answer this ques­ in the Cleveland tion with one Museum that word: Opinions. anybody has ever Gerson's opinion is inquired about the that in the case of authenticity or David before non-authenticity Saul—which, I of that signature. hasten to add, is Renewed labora­ (now) unsigned— tory investigation "the painterly has confirmed that execution is super­ it is perfectly ficial and incon­ genuine—and sistent; Saul's such a confirma­ turban is shining tion is indeed and variegated, possible today, in rather than pedan­ spite of Gerson's tic in treatment, in perfecdy correct contrast with the statement that "it clothing and the is difficult to dif­ hand, which are ferentiate between painted loosely, in a genuine and a one monotonous faked signature." tone of brownish The rest of red. All this points to an execution in Rembrandt's studio, after a Gerson's entry reads: "Bauch (1966, p. 47) attrib­ design in the manner of Benesch C. 76 (which uted the work to Carel Fabritius (possibly); I am itself is a copy)." This means that a "shining and reminded of early pictures by Aert de Gelder or variegated" turban cannot be expected to contrast Barent Fabritius. An attribution to Rembrandt is with a "loosely painted" clothing and hand in a probably not right." Thus we have here the genuine painting by Rembrandt (and one may "probable" elimination of the artist who signed also ask why Rembrandt did not see to it that these discrepancies were eliminated if the picture Fig. 2 (left). Rembrandt, Return of the Prodigal Son, ca. 1665, was executed in his studio). But what if oil on canvas, 264 x 205 cm. St. Petersburg, The Hermitage, inv. 742. Rembrandt was bent upon making a special display of that turban as a symbol of Saul's Fig. 3 (above). [Follower of Rembrandt], Man with a Beard, worldly power and royalty, which just at this oil on canvas, 84.S x 69.2 cm. The Cleveland Museum of moment, through David's playing, is made to Art, Gift of the Hanna Fund, inv. 5o.252.

6l appear so worthless, and therefore did not hesi­ Our decisive handicap in this area is the fact tate even to make that turban "rather pedantic in that we know next to nothing about commissions treatment"? And what if the "loosely painted" entrusted to Rembrandt, particularly for his reli­ hand was deliberately meant to signify lassitude gious paintings. Who—or what—inspired and renunciation of the javelin which lies power­ Rembrandt to paint such a miracle as Jacob's less in Saul's arm—even to the extent of looking Blessing (color ill. p. 57) in Kassel and the vast "monotonous"? It is even more difficult to explain majority of his other greatest biblical stories? We how Haak could have been offended by the fact don't know. In other words, we know nothing that the spectators in the Prodigal Son "contribute about the functional role of such a work within little to the main theme," without realizing that contemporary society (an extremely complex such silent witnesses are a most characteristic society!) and with that, we lack a decisive aspect feature of exactly some of the latest and most of it. Even if we can arrive at an understanding of powerful paintings by Rembrandt. the synthesis of content and form in such works, It seems to me that recent debates about such its historical locus is still only dimly discernible. cases have suffered from a rather wide-spread That Jacob's Blessing was probably commissioned tendency, particularly among our Dutch col­ by a Christian, rather than a Jewish, patron can leagues, to carry the (entirely legitimized) fight perhaps be concluded from the halo around against the "romanticized" Rembrandt image too Ephraim's blond head, but even that is not far. If Gerson connects the enthusiasm for the certain, and in other cases we are left entirely in David before Saul in the Mauritshuis with its the dark. And when there are actual uncertainties appeal "to the Dutch public of the Josef Israels about the subject we are quite helpless, while generation," what shall one say of Titus as a even the meagerest document about its commis­ Capuchin Monk (fig. 4) in the Rijksmuseum sion would solve at least the problem of the story (unless the attribution of this picture, too, be that was expected by the patron. doubted)? Is this the kind of seventeenth-century The latter reservation is indeed important. It interpretation which we are so urgendy admon­ has been argued convincingly that on the whole ished to expect of Rembrandt because he was a Rembrandt restricted himself to traditional bibli­ seventeenth-century Dutch painter? The pendu­ cal subjects and that it is one of the main tasks of lum has indeed swung to the other extreme. research on Rembrandt iconography to relate Perhaps the problematic nature of this situation carefully the master's works to the pictorial tradi­ struck Gerson when he said of this Tims picture, tion, with additional support from later works in "It was quite within Rembrandt's thinking {and which his own formulations may have been not only a nineteenth-century interpretation [my reflected. But this most reasonable method has as italics]) to imbue an 'historic portrait' with the yet enabled no one to solve to general satisfaction likeness of an actual one." Regardless of whether the problem of the Leningrad painting men­ this is Titus as St. Francis (Bauch) or Tims as a tioned at the beginning of this essay (as well as Franciscan (Valentiner), it is Tims in a most some others). Why is this? Let us assume for a extraordinary guise and in an elegiac mood (I moment that the commission for this picture— don't think this is saying too much). If anybody which, incidentally, has also sometimes been else painted such a subject in the seventeenth doubted, though not by Gerson—is known and century it certainly did not resemble this one in that it stipulates a "Downfall of Haman." any significant way, just as there is no parallel to Rembrandt had shown in 1660 (in the wonderful Rembrandt's etched St. Francis of 1657. We may picture in Moscow [p.38, fig. 28]) how he see reflections of such things in works by conceived of the banquet in which Haman Rembrandt's pupils; but reflections presuppose a was exposed by Queen Esther to the wrath of light source. Ahasver; this was one way of depicting the downfall of Haman. Now let us also assume that If the cases of David before Saul and the a few years later another patron of Rembrandt's Prodigal Son show that the relationship —or Rembrandt himself, considering his previous between features of style (and technique) and of depiction, his last word on that particular scene— interpretation of a known subject is not always desired to see this downfall represented in a sufficiently understood, where do we stand when significandy different manner—as happened in the subject matter is under debate? 62 ^H Sift quite a number of comparable cases. With his prerequisite and for which there exists not always deep understanding of the tragic elements a fully comparable pictorial representation either. which characterize such a downfall, whether it The two other figures witness this departure with is "deserved" or not, Rembrandt would then sad (not hostile) glances; their concern is that of naturally have concentrated on the pitiful figure people who were ordained to be the instruments of Haman as he leaves the palace of Ahasver in a of such an abysmal downfall. dejected mood, completely aware of his fate; the If these main objections do not invalidate the deafening silence around him would be expressed identification of the subject of the Leningrad through the two other faces watching his picture as the Downfall of Haman, how certain departure in awe but without any wrath; any can we be that this is really Haman? There is action or specific comment would be as superflu­ no certainty. But it is nevertheless true that this ous here as it had already been, to a degree, picture, seen as Haman, most clearly and in the Moscow Banquet and as it was to be more convincingly corroborates previously broached fully in the Prodigal Son. ideas about that new dimension of the art of But what about the objections that have been the late Rembrandt which can be subsumed raised against this identification? How valid are under the concept of isolation. It is in such cases they? Let me state the two main ones briefly. in particular that Rembrandt needed no specific Objection no. i: Rembrandt could not have biblical text and no specific pictorial tradition. made an enemy of the Jews the main person of a Haman alone, his fate only echoed in the picture. In the two other examples of this kind, quiet countenances of two witnesses, is like the which are cited only as seemingly acceptable par­ inseparable group of father and repentant son, allels, the Balaam and the Belshazzar [ill. p. 51, "attested" rather than aided or commented on by fig. 21], "Rembrandt shows us clearly that their a few bystanders (Leningrad), like the Jewish role has already ended." Is this not the case here? Bride (Rijksmuseum, Amsterdam [ill. p. 47, fig. I find it hard to think of a more convincing pose 38]), where the pair, Isaac and Rebekah, is now and gesture for a man who was powerful only a even shown alone, deliberately divested of the moment before, but now, though still wearing the figure of the spying king Abimelech which was insignia of power, goes to his doom. True, still before Rembrandt's inner eye when he made Haman—an Amalekite—was considered by the the preliminary drawing. The two new attempts Jews to be inherently evil, rather than temporarily to explain the subject of the Leningrad picture insane as was Saul when he raised his javelin would necessitate assuming a similar amount of against young David. But even Flavius Josephus abstraction from the respective biblical scenes— had elaborated on Haman's downfall in a spirit but in their case we would have to think of a which evinces the presence of more pity within much vaster extent of reduction of the number the Amalekite than the biblical report had of figures involved in the story and of the basic shown, when he described how Haman "left [the elements of the setting as they appear in the palace] in consternation and told his wife and Bible—too vast in contrast to what we have in his friends with tears what had happened to the biblical account of the Haman story, for him." The gap between tears of dejection and which only two or three figures and "a room" are tears of contrition, such as the young Rembrandt needed. (1629) had put into the eyes of the repentant If we are sure of so little we shall have to Judas—certainly a greater evil-doer than Haman work harder. In doing so we must consider all in Rembrandt's eyes—does not seem to me too facets of this incomparable oeuvre with equal great to have been bridged by the old master. care: signature, technique, condition, style, subject Objection no. 2: The Book of Esther does matter, personal interpretation of that subject not describe such a scene; "there is no tragic matter, pictorial tradition, workshop conditions, departure in that scene, nor any reason for all cultural ambiance, related drawings and etchings three figures to be so deeply concerned." The by Rembrandt; and we must compensate for the tragic departure is Rembrandt's interpretation of crucial lack of documentation with a double the fate of great sinners—the kind of interpreta­ effort at a full and unbiased study of all tion for which an exact parallel in the Bible is no those other aspects—and, before all, of their interrelationship. 64 Bibliographical note Most references to Gerson are to Rembrandt: The der Veen, "By his own hand': The appreciation of Complete Edition of the Paintings, by A. Bredius, autograph paintings in the seventeenth century," in revised by H. Gerson (London and New York, ibid., vol. 4 (forthcoming). On the Munich Sacrifice 1968); the one to his apologia is to "Rembrandt: of Isaac, which is now accepted as copy produced in Orario pro domo," Gazette des Beaux-Arts XXXVII the master's workshop, see Corpus of Rembrandt (1971), p. 195. The doubts about the spectators in Paintings, vol. 3 (1989), pp. 107-12, cat. A108 copy 2. the Prodigal Son are voiced by Bob Haak, An ongoing survey and analysis of Rembrandt Rembrandt, His Life, His Work, His Time (New signatures has now been compiled by J. Bruyn: A York, 1969). The most recent identifications of descriptive survey of the signatures," in Corpus of the subject of the Leningrad Haman are found in Rembrandt Paintings, vol. 1 (1982), pp. 33-39; idem, The Burlington Magazine CXIII (1971), p. 473 (A. A selection of signatures 1632-1634," in Corpus of Bader) and in Oud Holland LXXXVI (1971), p. 32 Rembrandt Paintings, vol. 2 (1986), pp. 99-106; (S. Nijstad); for the last discussion of the Cologne and idem, "A selection of signatures 1633-42," Self-portrait, see Jahrbuch der Hamburger in Corpus of Rembrandt Paintings, vol. 3 (1989), Kunstsammlungen XVI (1971), p. 33 (C. Tumpel). PPP-56- The most recent arguments in favor of identify­ The Cleveland painting of a young bearded man ing the subject of the Leningrad picture with the is currently considered to be by an unnamed follower downfall of Haman were published by C. of Rembrandt. Recently, the attribution of the Tumpel {Jahrbuch der Hamburger Kunstsamm­ Hermitage Downfall of Haman (Haman lungen XIII [1968], p. 108) and by M. Kahr Recognizes his Fate) has been doubted by Walter {The Burlington Magazine CXIV [1972], p. 551, Liedtke and others, in "Dutch and Flemish Paintings with what seems to me an unnecessary display of from the Hermitage: Some notes to an exhibition intolerance and over-confidence). catalogue, with special attention to Rembrandt, Van Dyck andJordaens," Oud Holland 103 (1989), pp. 157-60. Editor's note:

Stechow's text is reprinted here as originally 1 published, with a very few changes: bracketed infor­ mation in the text has been added (mostly references to illustrations elsewhere in this volume);figure captions have been updated to reflect current attribu­ tions, dating, and locations of works. A few brief editorial notes are included here to recognize some of the more significant recent publications in the field.

The Cologne self-portrait is now generally known as Self-portrait as Xeuxis; H Perry Chapman, Rembrandt's self-portraits: a study in seven­ teenth-century identity (Princeton, N.J., 1990). The complex issues of whether or not Rembrandt signed his pupils' works (and under what circum­ stances), and his workshop practice in general, are discussed in: E. van de Wetering, "Problems of apprenticeship and studio collaboration," in J. Bruyn, B. Haak, S. H. Levie, P.J.J, van Thiel, E. van de Wetering et al, A Corpus of Rembrandt Paintings, vol. 2 (Dordrecht/Boston/Lancaster, 1986), pp. 43-90; J. Bruyn, "Studio practice and studio production," ibid., vol. 3 (1989), pp. 12-50; and], van

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ipi HIP MS WI«eSK SMilltstt Appendix: Table of Contents and Addenda for Stechow's "Gesammelte Aufsatze" By Wolfgang Stechow Edited by David A. Levine & Nicola Courtright

Editors'note: In February 1970, Wolfgang Stechow no significant editorial changes in these texts written was approached by Professor Klaus Lankheit of the nearly twenty-five years ago. Readers will thus Universitdt Karlsruhe to consider reissuing a group of find some of the author's additions and corrections his articles in a separate volume. Lankheit was acting themselves obsolete, and some references incomplete. at the behest of the publisher Wilhelm Fink of Munich, who envisioned the book as one of a series compiling the "kleinere Schriften" of some prominent 1. "Rembrandts Darstellungen der art historians of the era. The original agreement called Kreuzabnahme," Jahrbuch derpreuszischen for the republication of thirty-four articles by Stechow Kunstsammlungen 50 (1929), pp. 217-32. in German and English, treating a wide variety of artists' works and art historical problems, arranged This article is a youthful misdeed, which H. chronologically and according to artistic school. The Kauffmann {OudHolland 48 [1931], p. 234) author suggested the title "Gesammelte Aufsatze zur regarded very critically for good reason, owing to Inhaltsdeutung und Stilgeschichte." its unclear formulation of the question. That it By late September 1974, however, the plan had is nevertheless being published might be excused changed significantly. Wishing to give his book greater by the fact that Christian Tumpel {Kon. coherency, Stechow now proposed to limit the publica­ Nederlandse Akademie der Wetenschappen, Bijzondere tion to studies that focused primarily upon icono­ Bijenkomst der Afdeling Letterkunde, March 13, graphical issues. The author suggested about twenty 1972, p. 10) characterized it as the "first important articles for the project, two originally written in iconographic essay in Rembrandt scholarship," German, the rest in English. To bring them up to and maintained that I was the first to show that date—some of these pieces were originally published Rembrandt "also represented themes that depend­ over forty years before—he intended to provide ed solely on the pictorial tradition and that he lengthy addenda containing new bibliographic and consequently began with iconographic and formal factual information. solutions of older art." By the time he died in 1974, Stechow had all but Whether Kauffmann was right to complain finalized his table of contents and written most that I combined the iconography of the (but not all) of the planned addenda. These drafts are Lamentation with the Deposition is another reproduced in the following Appendix. The addenda, question. Such fusions were made frequently to composed during the author's final months, contain his clarify iconographical connections, and the same observations upon many questions of chronology thing goes for the [artist's] consideration of scenes and style as well as on iconographic matters. In order of Crucifixions and even Entombments, which to preserve the historical record, we have made just like the Deposition often include the

67 representation of the group with the unconscious 'Lamentation for Christ,'" Master Drawings 7 Mary. It was precisely these intimate connections [1969], pp. 158 ff.) subjected the London drawing, a that seemed important to me (and still do). preliminary drawing for the painting in the Naturally, this should have been made clearer National Gallery (Benesch no. 154), to a thorough and should have been developed further. technical examination. Relying on this and a The following should be appended to the drawing attributed to the school of Rembrandt material I used: (Bol?), he demonstrates that the composition, J. Bruyn {Rembrandt's keuze van Bijbelse originally in an oblong format, was also worked on onderwerpen [Utrecht, 1959], p. 8) questioned my further; only later was it expanded into a vertical derivation of the group with the unconscious format (probably not by Rembrandt). Mary (in the Munich painting) from the painting H. Olsen ("Rubens og Cigoli," Kunstmuseets by Bassano, and instead suggested Lucas van Arsskrift 1950, pp. 58 ff.) and W. Friedlaender (in Leyden's Crucifixion from the Round Passion of Studien zur toskanischen Kunst. Festschrift 1509 as the source. This strikes me as clearly Heydenreich [Munich, 1964], pp. 76 ff.) have cast erroneous, because the decisive grouping of Mary, more light on the connection of the large Rubens who lies parallel to the edge of the painting, along altar with Cigoli, and Kauffmann (op. cit.) sus­ with the women bent over her from the left-hand pected a renewed influence of Rubens in the later side and from the rear, does not appear at all in version by Rembrandt (Widener Collection, this print. There are perhaps other sources to National Gallery of Art, Washington, D.C.). I be considered sooner than this suggestion, e.g., consider Gerson's de-attribution of the (admitted­ a Crucifixion by Cornells van Haarlem (photo ly not perfectly preserved) painting in Washington Nederl. Art Inst.), in which this group appears (Bredius 584; B. Fabritius or S. van Hoogstraten more likely to have been an influence, admittedly are suggested as authors) as completely erroneous. with a Mary who lies in a different position. [Translated by N. Courtright] The composition by Bassano that I alluded to was called Tintoretto in the Reynst collection (F. Lugt in Oud Holland 53 [1936], p. 17, note 40), and was 2. "Rembrandts Darstellungen des engraved by Cornelis Visscher (Wussin no. 105). Emmausmahles," Zeitschriftfur Kunstgeschichte 3 The print of the same size byjeremias Falck (i934), PP-329-4I- (Block no. 24), also after a painting in the Reynst collection (engraved by "Michelangelo da There is little to add to this second specialized Caravaggio"), seems to reproduce more or less the study of Rembrandt's iconography. For earlier same painting, a fact which Dr. Elisabeth Reynst representations (even then I naturally only wished kindly pointed out to me. to sketch them out) I refer readers now to my arti­ Otto Benesch {The Drawings of Rembrandt cle in the Reallexikon zur deutschen Kunstgeschichte [London, 1954], vol. 1, p. 22) made the strong accu­ (Stuttgart, 1967), vol. 5, cols. 228-42; and to the sation that I called the drawing for the painting in enormous amount of material that Lucien the London National Gallery a preliminary study Rudrauf gathered in his book on the theme ["Vorstudie"]. I never claimed such nonsense; {Le Repas d'Emmaits, 2 vols. [Paris, 1955]; see also instead I called the Dresden sheet a preliminary Pigler, Barockthemen, vol. 1, pp. 346 ff.) stage ["Vbrstufe"], something that surely can be In his article about Rembrandt's treatment of maintained (thus J. Rosenberg, Art Bulletin 38 the theme ("Rembrandt's Way to Emmaus," [1956], p. 66, and E. Haverkamp Begemann, Kunstmuseets Arsskrift 35-36 (1948-49), pp. 1 ff.), Kunstchronik 14 [1961], p. 21; see also Master J. Q^ van Regteren Altena called the drawing in Drawings 8 [1970], p. 58; Benesch himself silently Amsterdam (my fig. 6) a preliminary study for transformed "Vorstudie" into "Vbrstufe" in his no. the etching of 1654 (although his figures 15 and 16 586, but formulated his criticism even more appear as dated "ca. 1661"). This hypothesis was emphatically). Valentiner strangely removed the accepted by many (Boon 1956, no. 221; and Dresden drawing from Rembrandt's oeuvre, call­ Rosenberg, Haverkamp Begemann, White 1969, ing it a work of the Rembrandt school {Rembrandt p. 85). I still find it incorrect, as well as the (pretty Handzeichnungen, vol. 2, p. 391, under no. 491). generally rejected) attempt by Seidlitz and Anthony Harris ("Rembrandt's Study for the Benesch (A 66) to de-attribute the drawing by 68 Rembrandt in Amsterdam. My analysis of the etching could still be of 1654 because the drawing close relationship of this drawing with the paint­ was not with certainty a preliminary one, seems ing by Titian in the Louvre, engraved in 1656 (not to me to be refuted by a close investigation of the 1654, as van Regteren Altena, p. 22, writes), and sketch, which, as I pointed out in my article, start­ the renewed compositional peacefulness in this ed with the traditional motif of Simeon taking sheet that I pointed out (after the drama of 1654) over the Child from his parents but ended up with have not been discussed in the literature. The wiping out the parents on the left and putting etching and the drawing are really completely them behind Simeon on the right. Since this is different, and van Regteren Altena's reconstruction what the etching shows I cannot see how one can of an early stage in the etching, in fight of the deny the fact that the final state of the Rotterdam drawing, remains entirely hypothetical. drawing is indeed the immediate preparation for For the question of authenticity of the late the etching (so also Benesch, under no. 1032). painting in the Louvre see my comments here. Also, we have the drawing in the Louvre Benesch's suggestion (C 47) that the drawing in (Benesch 1033) which is most intimately connected Cambridge is a copy after Rembrandt must be with the etching in that Simeon turns away from completely rejected. the parents and presents the child to the high I mistakenly maintained that the light source priest: how is this to be dated? Here are the in the Elsheimer painting is hidden. answers that have been given to this question: [Translated by N. Courtright] Benesch: ca. 1657-58, in connection with the etching; Rosenberg (p. 115): "Not convincing as a late drawing and as a preparatory sketch for the 3. "Rembrandt's 'Presentation in the Dark etching of the Presentation in the Dark Manner. Manner,'" Print Collector's Quarterly 27 (1940), pp. Lugt's suggestion (Louvre 1127) that this is an 364-79. early drawing of about 1630 seems more plausible"; Sumowski (1961, p. 19): "Gilt als Entwurf fur B. 50. At the risk of being considered stubborn I should Lugt sieht eher den Stil der vierziger (sic) Jahre. like to stress that in spite of strong opposition I Neben der vorigen Nummer also gleichzeitiges still cannot agree to a date of 1654 for this magnif­ Werk Rembrandts nicht moglich. Den skizzenar- icent print [cf. p. 52, fig. 43]. There is no basis tigen Zeichnungen Hoogstratens sehr verwandt (s. whatever for the belief that Rembrandt included a z.B. Elia und die Baalspriester, Berlin, Inv.-Nr. print of totally different iconography and appear­ 5664)"; Valentiner 316: ca. 1660; White: no com­ ance in a series (?) consisting of the Descent from ment. In the face of such contradictory judgments the Cross (1654, upright format), the Entombment I would suggest that there are only three possibili­ (undated, oblong format), and Christ at Emmaus ties here: either this drawing is a work by Rem­ (1654, upright format)—even if it is of the same brandt himself in preparation for the etching (as size; he did etch five scenes from the childhood proposed in my text of 1940); or it was made of Christ in 1654 (B. 47, 55, 60, 63, 64) but none of immediately afterwards, perhaps in preparation for these is in upright format and their dimensions a painting (Professor Haverkamp Begemann, in differ widely from that of the Presentation (97 x litteris 1974, with reference to stylistic similarities 144 mm versus 207 x 162 mm). with drawings for the Claudius Civilis); or it is an imitation based on knowledge of the etching or of While it is notoriously difficult to make defi­ a preparatory drawing for it. But I submit that a nite assignments of dates to undated Rembrandt date in the 1630s would sadly thwart our efforts to etchings and drawings {vestigia terrent), I still feel discover the "inner history" of a given subject in that the technical and stylistic characteristics of Rembrandt's art. The late date of the etching has both the etching and the preparatory drawings for also been objected to on the ground that a paint­ the Presentation demand their separation from the ing by Abraham van Dyck with the date of 1655 1654 group, and I do by no means stand alone in must be dependent on (White 1969, p. 84, note 20, this opinion. Both Valentiner and Benesch pro­ strangely says: "clearly copied from") Rembrandt's posed a later date (1658 and ca. 1663, respectively), etching and therefore forces us to assume a pre- Miinz proposed 1657-58, and recently C. Tumpel 1655 date for the latter. However, the date on van suggested ca. 1657. Lugt's opinion (1933) that Dyck's painting, which also shares many features although the drawing might be from ca. 1660 the 69 with the drawing B. 1033, is clearly 1651, as a good 4. "The Myth of Philemon and Baucis in Art," photograph unmistakably shows, not 1655; in other Journal of the Warburg and Courtauld Institutes 4 words, if the signature and date of this picture are (1940), pp. 103-13. reliable, it would assuredly predate Rembrandt's etching, which nobody has ever placed earlier than The main deficiency of my material was in the 1654. It is perhaps not easy to accept that date but field of Flemish painting of the seventeenth we must realize that we know nothing of the way century. I had missed Jordaens' painting in Raleigh in which Rembrandt may have suggested to his (exh. cat. Jacob Jordaens [Ottawa, 1968], no. 87, pupils ideas and compositions which he himself ca. 1645; an identical composition as by "W. Van did not see fit to carry through at a given time. Harp" in Museum Simu, Bucharest, photo Another case in point is a Presentation in the Netherl. Art Inst. L25589), which is vastly more Temple by Juriaen Ovens which to a truly aston­ sensitive and successful than the composition ishing degree anticipates Rembrandt's great draw­ engraved by Lauwers (reproduced in the Ottawa ing of 1661 in the Heyblock Album—and which is catalogue, no. 303). What looks like a preparatory dated 1651 (see my note 9). drawing for the Lauwers print exists in the Louvre Some help for the solution of this problem (Cat. Lugt 1949, vol. 1, no. 730, pi. LXXVIl) but it is may come from elsewhere. The suggestion, first much superior to the print in that Mercury made by Miinz {Rembrandt's Etchings [London, protects the goose from Baucis who is chasing her. 1952], vol. 2, p. no) and accepted by Tumpel D'Hulst {De Tekeningen van Jakob Jordaens {Rembrandt legt die Bibel aus [exh. Berlin 1970], no. [Brussels, 1956], p. 380, no. 145) and after him Jaffe 52), that the composition of the Presentation in the (Ottawa cat., no. 303), maintain that the Lauwers Dark Manner derives to a considerable extent from print was made after a painting in Dresden, of a painting of the Circumcision of 1646 (known to which I can find no trace in the Dresden us from the copy in Braunschweig) and/or from catalogues. The painting in Helsinki is in reverse the study for that painting (Benesch 581) is entirely of the Louvre drawing (which is in the same convincing. And here may well lie the key for the sense as the engraving). See also d'Hulst no. 248 new role of Simeon and the High Priest in the (not mentioned by Jaffe, apparently close to later Presentation and the earlier reflection of that the Raleigh picture). Not listed by d'Hulst is a kind of composition in the works by pupils. Still, drawing in Besancon (photo Netherl. Art Inst. the last word was not spoken before the late 1650s, L17215), unusual because the scene is arranged with Rembrandt's self-correction in the Rotterdam in the foreground on an extremely narrow stage, drawing. symmetrically and practically without any Tumpel (under no. 48) has correctly stressed indication of depth. that one ought to distinguish between the It appears that the Raleigh picture by Jordaens Presentation proper and the Lobpreisung Simeons was well known to Jan van der Hoecke, [(Prague, (Simeon's Hymn of Praise) since the latter does Gallery [see my pi. 26c]; the attribution is uncer­ not take place before the altar but in the midst of tain),] while Jacob van Oost's large painting in the the Temple. My description of the main points of De Young Museum in San Francisco (identified as the Biblical report needs correction: the two his by J. Held, Art Quarterly 18 [1955], pp. 1476°.) pigeons were required for the Purification, not the relies more directly on Rubens's composition. The Presentation, but the two scenes were described as almost equally large, rather heavy and more occurring simultaneously even by St. Luke, Caravaggesque canvas by Abraham Janssens, now although according to the Jewish law the at Wellesley College (first published by J. Held in Vun&cation follows the Presentation by ten days the Brussels Bulletin 1 [March 1952], p. n; exh. (see Dorothy C. Schorr, "The Iconographic Sarasota i960, no. n), is only loosely connected Development of the Presentation in the Temple," with the Rubens-Jordaens-van der Hoecke group. Art Bulletin 28 [1946], pp. 17 ff). A charming oddity is an early work by Emanuel de Witte (I. Manke, Emanuel de Witte, 1617-1692 [Amsterdam, 1963], pi. 4) in which the scene is deprived of all mythological features, with the gods clad in modern traveler's garb and a friar­ like Philemon serving them; the goose is in no 70 danger from the soup-spilling Baucis; a scene with Historiale, Thott 6, 2) is of special interest because double candlelight effect. its first scene, Solomon Teaching, already contains Of later occurrences of the theme, an early the "Beating the Dog before the Lion" motif composition by Ingres is worth mentioning. It is a which later appears in my fig. 2 (exh. Gyllene signed wash drawing of ca. 1801 in the Museum Bocker [Nationalmuseum, Stockholm, 1952], no. 96 of Le Pay (Henry Lapauze, Ingres, son vie et son and pi. XV, there dated ca. 1370—too early?). For oeuvre [Paris, 1911], p. 36), and shows a majestic further marginal decorations with this story, com­ seated Jupiter having just protected the goose from parable to my fig. 5 but all from the early four­ the prostrate old couple, a rude Mercury standing teenth century, see Lilian M. C. Randall, Images in aside and a thunderstorm already raging over a the Margins of Gothic Manuscripts, (Berkeley and distant landscape. Los Angeles, 1966), p. 215 and figs. 646-47; not fist­ I have nothing to add to what I said about ed there is one in the British Museum, London, Rembrandt's attitude toward the subject and its Royal 19 D II, which is nearly identical with the relationship to the Supper at Emmaus; the poorly miniature from the same manuscript. preserved but still magnificent late painting of that Another ivory comb, comparable to my fig. 4, subject in the Louvre, even now under an official but not with a skeleton father, was published by cloud, has to my delight been left with Rembrandt H. Schnitzler, F Volbach and P. Bloch, Sammlung even by H. Gerson (A. Bredius [revised by E. undM. Kofler-Truniger, Luzern (Lucerne, 1964), H. Gerson], Rembrandt, Complete Edition of the vol. 1, no. S 126 (Italian, ca. 1380). Paintings [London, 1968], p. 502, no. 352). The A quattrocento cassone, possibly a ruined work Elsheimer genesis of the Jacquemart-Andre Supper by Marco Zoppo, was published by R. Longhi as a at Emmaus has occasionally been doubted but I Martyrdom of St. Sebastian; on this see my sepa­ would maintain its validity. Gerson has pointed rate article of 1955. It may be worth mentioning out {Rembrandt Paintings, 1968, p. 108) that that the cassone published by Paul Schubring in Rembrandt's Philemon and Baucis of 1658 is com- Apollo 3 (1926), p. 252, does not represent our story. positionally indebted to his etching of 1656 with Early Northern book illustration is represented Abraham Hosting the Three Angels; he may well be by the woodcut from an edition of the Gesta right, the more so as this very scene from the Old Romanorum, Gouda (Gheraert Leeu) 1481, which Testament had a tradition as a Christian parallel was re-used by P. Van Os in Zwolle in 1484 {Oud to Philemon and Baucis. Hollands [1967], p. 29, fig. 4); it is remarkable A useful recent book by Manfred Beller for showingyowr sons in a very straightforward informs us about "Philemon und Baucis in der narrative. europaischen Literatur" {Studien zum Fortwirken For some works of the sixteenth and seven­ derAntike, ed. W. Marg and H. Riidiger, vol. 3 teenth centuries not mentioned in my article see [Heidelberg, 1967]). Paul Boesch, "Schiessen auf den toten Vater," Zeitschrift fur schweizerische Archaeologie und Kunstgeschichte 15 (1954), pp. 87 ff. In addition to 5a. '"Shooting at Father's Corpse,"' The Art seven Swiss Wappenscheiben dated between 1581 Bulletin 24 (1942), pp. 213-25; and 1680 (and a preparatory drawing for one of 5b. '"Shooting at Father's Corpse': A Note on the them), Boesch pointed to the fresco on the Haus Hazards of Faulty Iconography," The Art Bulletin zum Weissen Adler in Stein am Rhein, painted ca. 37 [I9SSl» PP- 55-56. 1520 by Thomas Schmid. Holbein's fresco of 1517- 19 on the Hertenstein House in Lucerne is lost, The material which has become known to me but a copy shows a magnificent circular hall within after I published this article in 1942 reveals only a which Solomon pronounces his judgment over the few new features, but I want to mention it, at least sons—and there is no corpse {Die Kunstdenkmdler as far as it is available in reproductions (for addi­ des Kantons Luzern 3 [1954], p. 125 and fig. 105). I tional representations see Pigler's Barockthemen, had also overlooked the roundel drawing, dated vol. 2, pp. 442 ff.) 1517, by Hans Baldung, illustrated by Boesch and Of additional "foursome" miniatures of the by Carl Koch, Die Zeichnungen von Hans Baldung quatrefoil type (figs. 6, 8, 9 of my article), one in Grien (Berlin, 1941), no. 84, in which the father the Royal Museum in Copenhagen {Bible appears as a near-skeleton and the role of the 71 youngest son is strangely slighted. The drawing was mentioned in Meta Harrsen, Central European usually given to Schaufelein, fig. 14 of my article, Manuscripts in the Pierpont Morgan Library is no. 1 in F. Winkler, Die Zeichnungen Hans Suss (New York, 1958), p. 74, and, on the authority of von Kulmbachs und Hans Leonhard Schdufeleins E. Buchner, attributed to the "Master of the (Berlin, 1942), p. 137, but is attributed to the Uttenheim Panels." "Master of the Karlsruhe Anbetung" by Pigler. I Italian representations of the story in the six­ have recently suggested {Art Bulletin 56 [1974], teenth century and later are remarkably rare. After p. 260) that Durer himself had the story in mind Bacchiacca it was perhaps painted by Marcello when he painted the portrait of a man holding a Fogolino in a Trent fresco, but all we have is a fine broken arrow (Bergamo). drawing in the Scholz Collection (exh. cat. An elegant roundel is the boxwood relief once Sixteenth Century Italian Drawings from the in the collection of Emil Delmar, South German Collection ofjanos Scholz [National Gallery of Art, ca. 1530, somewhat in the manner of Hans Kels, Washington, D. C, and Pierpont Morgan Library, reproduced in Magyar Muveszet 5 (1929), p. 79; New York, 1973-74], p. in, no. 91). A drawing to the left, Solomon, on horseback in strong given to Raffaelino del Colle is in Frankfurt foreshortening, already tenders the crown to the (reproduced in Stift und Feder, 1927, no. 36). Pigler youngest son who stands in the center facing the {Barockthemen, vol. 2, p. 443) illustrates a painting spectator; way behind him is the small figure of in a private collection which he attributes to F. the father, and on the right side the swashbuckling Zuccaro. elder brothers—an independent and captivating The story was evidently more popular in the composition. Another composition in the round Netherlands in the second half of the sixteenth is a medal in Basel published by Guido Kish (in century, particularly in the circle around Frans "Recht und Gerechtigkeit in der Medaillenkunst," Floris. A drawing in Berlin is not far from Floris Abhandlungen der Heidelberger Akademie der himself {OudHolland 82 [1967], p. 30, fig. 7) but it Wissenschaften, phil-hist. Klasse [1955], p. 100 and is entirely different from the Floris composition pi. VI, no. 25); the inscription reads: "Germanus which we know from a drawing in Munich ecce filius pattern veretur mortuum. Vivum (Cat. Wegner 1973, no. 49) and a corresponding quis es qui neglegis"; the action, however, is not engraving by B. van den Bos (Hollstein vol. 3, very clearly expressed. p. 118). The drawing in Amsterdam {Oud A very remarkable German work is the Holland 82 [1967], fig. 6), inscribed "F Floris," engraving by Melchoir Lorichs (Lorck), dated 1551 is in part closely related to the one in Chicago, (exh. cat. Die Kunst der Graphik, IV: Zwischen which I published as fig. 16; neither can be by Renaissance und Barock [Albertina, Vienna, 1967- Floris himself. Wholly different again from all 68], p. 161, no. 233 and pi. 38); it is a restrained, these compositions is a painting signed by the lit­ noble rendering, in which nobody is shown shoot­ tle known Hieronimus van der Elst (Middelburg ing, and the accent is exclusively on the group of and Bremen, active 1577-1612), which was pub­ the three sons and Solomon, all in armor. This is lished by A. H. van der Beck-Scheffer in Oud in considerable contrast to Virgil Solis's engraving Holland 82 (1967), pp. 18 ff. This picture, now B. 84, which still follows the compositional trend belonging to the Dutch Government, stands in of [the Master] MZ's print and in which the dead the Spranger-Dutch Mannerist tradition and father wears a crown. A fresco from the second characteristically relegates the corpse to the far­ half of the sixteenth century is in Schloss Ambras thest background; the true son, although placed in (A. Ilg and W. Boeheim, Das K K. Schloss Ambras the center, is to a large degree overlapped and in Tirol [Vienna, 1882], p. 73). A representation of dwarfed by the huge figure of one of his shooting the story was listed in Philipp Hainhofer's brothers; the foreground is occupied by large half Stammbuch of 1610 (O. Doering, "Des Augsburger figures including the third brother, who bends his Patriciers Philipp Hainhofer Beziehungen zum bow, and two figures seen from the back and Herzog Philipp II. von Pommern-Stettin," almost crowding out Solomon. None of the other Quellenschriften..., n.s. 6 [Vienna, 1894], p. 38): "wie representatives of our subject matches this reckless in scithia nach Ihrem vatter 2. sohn schiessen, der treatment. 3-te aber die Pfeil zerbricht und Kiinig wiirdt." The illustration in Hugo von Trimberg's Renner

7* 6a. "Jacob Blessing the Sons ofJosep h from presence can be explained by pointing to the role Early Christian Times to Rembrandt," Gazette of Rebe in the scene of Isaac Blessing Jacob, where des Beaux-Arts 23 (1943), pp. 193-208; her eager participation in the action distinguishes 6b. '"Jacob Blessing the Sons of Joseph': From her fundamentally from the contemplative attitude Rembrandt to Cornelius," Festschrift Ulrich of Rembrandt's Asenath. Middeldorf{Berlin, 1968), pp. 460-65. Von Einem and I have seen eye to eye with regard to the matter of Joseph's interference with The present article was written and published in Jacob's action in preferring Ephraim over 1943. At that time no communication with Manasseh. Jakob Rosenberg and Use Manke (op. Germany was possible, and Herbert von Einem, cit.) have stressed that the Kassel picture shows who was then collecting the material for his own traces of greater resistance to Jacob's shifting of investigation of the subject, knew nothing about hands on the part of Joseph than von Einem and I mine. When he published his findings had observed; but the interpretation of the x-ray ("Rembrandt, der Segen Jakobs," Bonner Beitrage picture is perhaps less certain than it seems, and in zur Kunstwissenschaft 1 [1950]) he referred to any case there is no doubt that Rembrandt has my article, which had become known to him very deliberately slighted whatever discrepancy of belatedly, and correctly spoke of "fast vollstandige opinion can still be noticed there. A glance at Uebereinstimmung" with me in collecting and Guercino's picture suffices to bear this out. interpreting the iconographic material. The only This article has been reprinted in No Graven discrepancy in our views pertains to the role of Images, Studies in Art and the Hebrew Bible, ed. Jewish literature in explaining the presence of Joseph Gutmann (New York, 1971), pp. 261 ff. (see Asenath in Rembrandt's picture in Kassel. I am also p. xli for correction and additional literature). still convinced that Rembrandt's intimate relation­ ship with the Amsterdam Jewish intelligentsia prompted him to include the figure of Asenath in 7. "Rembrandt-Democritus," The Art Quarterly 7 this patriarchal family scene. Asenath was (i944)» pp- 232"38- represented in a very few cases before, but it is extremely doubtful that Rembrandt knew any of them. To the examples mentioned in this article 8a. '"The Love of Antiochus with Faire (San Callisto sarcophagus, Vienna Genesis, and Stratonica'in Art," The Art Bulletin 27 (1945), Pontormo's painting in the National Gallery in pp. 221-37; London), I can add only a Tournai tapestry in the 8b. "Addenda to 'The Love of Antiochus with Metropolitan Museum in New York, the piece Faire Stratonica,'" Bulletin du Musee National de alluded to in my note 42, and perhaps the figure Varsovie 5 (1964), pp 1-11. supporting Jacob in his bed (cf. Pontormo) in the small background scene in the famous tapestry This article has elicited a considerable echo from series in Brussels after Barent van Orley (Martha historians of art, literature, and music, and I Crick-Kuntziger, La Tenture de IHistoire de Jacob have received information about a goodly number d'apres Bernard van Orley [Antwerp, 1954], pi. X), of representations of the story which had been to which Use Manke has drawn attention ("Zu unknown to me. Gaps in my material were Rembrandts Jacobssegen in der Kasseler Galerie," particularly large with regard to Italian painting, Zeitschriftfur Kunstgeschichte 23 [i960], pp. 252 ff). as became obvious from a perusal of the examples Von Einem says, "The question before us is this: cited in A. Pigler's indispensable Barockthemen did Rembrandt include Asenath in order to be (1956). Some of the new material was utilized in historically correct...or did he do so 'aus der an article of mine called "Addenda to 'The Love inneren Notwendigkeit seiner Conception'?" I of Antiochus and Faire Stratonica,'" which cannot agree that this is a valid alternative; appeared in the Bulletin du Musee National de Rembrandt may very well have been in happy Varsovie (1964); I also published a brief separate agreement with the Jewish legend and given it a account of Daniel Seiter's Toronto picture, novel, and in fact incomparably profound, visual which depends heavily on one by Pietro da interpretation. I do not believe that Miss Manke Cortona (The Art Gallery of Toronto News and (op. cit.) was right in assuming that Asenath's Notes 6 [1962], no. 2).

73 Of the paintings discussed in my article of (Sposalizio-like, cf the cassone in the Huntington 1964, the most important are the following: Gallery) is given to Bartolommeo Montagna (by Bonifazio Veronese, in the Museo Poldi Pezzoli, E. K. Waterhouse in Burlington Magazine 89 Milan (on this see now also Luisa Vertova, "La [1947], p. 46 [Oxford, Ashmolean Museum]). visita del medico," Mitteilungen des kunsthis- Further representations: J. H. Schonfeld, torischen Institutes in Florenz 16 [1972], pp. 175 ff. Oldenburg Museum (Herbert Pee,/. H. Schonfeld, and p. 336); Theodor van Thulden, formerly coll. Die Gemalde [Berlin, 1971], p. 177, no. 112, fig. 131, Prince Stolberg in Wernigerode (perhaps identical second half of the 1660s); Gregorio Lazzarini, with the "Rubens" which Reynolds saw in 1781?); 1696, Venice, Museo Correr, no. 2160 {Bollettino dei Simone Pignoni, now in the City Art Gallery in Musei Civici Veneziani 6 [1961], no. 2, pp. 15 ff); N. Auckland (see Burlington Magazine 106 [1964], p. M. or G. B. Rossi, New York art trade, 1970, 222); Daniel Seiter, 1680, Toronto (see above); attributed to Conca; Coli-Gherardi (sale London Adriaen van der Werffi 1721, Bordeaux (HdG 136; [Christie's], March 18, i960, no. in); Francesco illustrated in La Peinture hollandaise de XVIIe siecle Fontebasso, Budapest, a gigantic canvas, in which dans les collections du Musee des Beaux-Arts the story is practically sacrificed to ceremony, [Bordeaux, 1966], p. 36, no. 67, pi. 34), with two more so than in a drawing in Oxford (for both see children sitting prominently in front with fruit A. Pigler in Arte Veneta 13-14 [1959-60], pp. 155 ff; and flower baskets; Ottmar Elliger the Younger, see also Klara Garas in Acta Historiae Artium 11 Darmstadt, no. 326; Stefano Pozzi (sale London, [1965], p. 298); Girodet, two drawn versions for a May 24,1963, no. 108); G. B. Pittoni, Springfield, lost painting, see Mario Praz, The House of Life, Mass. {Bulletin 26 [October/November 1959]); P. trans. A. Davidson (New York, 1964), pp. 312 ff. Batoni, 1746, Museum in Ponce, Puerto Rico, cat. (The original of the painting of 1793—my note 1965, p. 8 (see also A. M. Clark, in Burlington 61—is in the Musee Bonnat; see Norman Magazine 101 [1959], p. 236; an oil sketch for the Schlenoff, Ingres, ses sources litteraires [Paris, 1956], painting is in the Jacques de Caso Collection, chapter IX: "La 'Stratonice' et L'Age d'or," pp. 233 Berkeley, California; another version in Berlin was ff); and Luigi Calamatta, Paris, private collection destroyed in 1945); Fragonard {Connoisseur 135 (based on Guillemot 1808 and the early Ingres [February 1955], p. 10) in which Stratonice turns drawing, and signed and dedicated to Ingres). her face away bashfully; Benjamin West (the origi­ The painting by Gerard de Lairesse in nal, reportedly dated 1772, of the mezzotint by Amsterdam was very famous; a replica (probably Valentine Green discussed in the present article; a an early copy) is in the Poznan Museum (see my drawing of 1773 with a different composition is in article of 1964) and a copy in a drawing by Aert the City Museum of St. Louis, Missouri [H. S. Schouman exists in the Van Eeghen collection in Leonard in their Bulletin 36, pp. 48 ff.]: both ante­ Amsterdam (exh. Amsterdam 1958, no. 95). date David's paintings!). The Ingres version of The painting in Kassel, in my original article i860 with the marvelous hounds (p. 11 of my 1964 and elsewhere still given to Andrea Celesti, article) is now in the de Schauensee Collection in Goethe's model for the Kranke Konigssohn, is now Philadelphia, and the one of ca. 1834 (Wildenstein rather universally attributed to Antonio Belucci. 1954, no. 224, and fig. 181) has found its place in One would certainly like to know what to the Cleveland Museum of Art (Henry S. Francis, make of the picture which was described in the "Jean Auguste Dominique Ingres, Antiochus and Christie's sale on July 28-30,1888, no. 134, as "John Stratonice," Cleveland Museum of Art Bulletin 55 van Eyck, Prince Antiochus, the Queen [1968], pp. 103 ff.). Stratonice, and the physician Erosistratus" Luisa Vertova (op. cit., p. 181) has added to (collection of "a baronet," elsewhere identified as these another panel by Bonifazio Veronese Sir C. Nugent). (Boston, Isabella Stewart Gardner Museum) and For an excellent and convenient presentation pointed out that in the same master's Triumph of and illustration of Ingres' drawings of this subject Love in Vienna the three protagonists of the see now the exhibition catalogue Ingres in Italia, drama can perhaps be recognized in the retinue. Rome 1968, nos. 10 and 112-18. A remarkably early representation of Seleucus uniting Antiochus and Stratonice in marriage

74 9. "'Lucretiae Statua,'" in Essays in Honor of 10. "Y{e\io^iorxls, Aethiopica in Art," Journal Georg Swarzenski (Berlin and Chicago, 1951), of the Warburg and Courtauld Institutes 16 (1953), pp. 114-24. pp. 146-52.

I have been misquoted as "postulating the exis­ Two representations of the First Meeting of tence of an ancient statue of Lucretia," and the Theagenes and Chariclea by the rare Dutch author of this misquotation has given no reason painter Hans Horions (Utrecht ca. 1620-1672) have why in his opinion such a statue could not have been made known (J. G. Van Gelder and B. J. A. been as important as I assumed (Donat de Renkens, "Werken van Hans Horions," Oud Chapeaurouge, in Zeitschrift fur Kunstgeschichte 14 Holland'82 [1967], pp. 137 ff), one of them signed, [i960], p. 144, note 30). To the group of ancient the other (Glasgow University Gallery, Cat. statues which were supposed to represent Lucretia Smillie Coll., 1963, no. 2, as Jan de Bray) with can be added (kind communication from Mr. traces of a signature only. They are stylistically Bates Lowry) the "Lucretia Romana con la ferita related to Nicolaus Knupfer, to whom the former sotto la mammella" in the cortile of Sr. Latino had been attributed (see J. I. Kuznetsov, "Nicolaus Juvenale, recorded by Luigi Fra Contarino, Knupfer," Yearbook of the Hermitage 3 [1965], L'antiquitd di Roma [Venice, 1575], fol. io6r. p. 223, no. 130; in Russian). Knupfer himself For a list of the lost paintings with "statuesque" treated scenes from the Aethiopica not only in the nude Lucretias, which extends into the seven­ Stockholm picture but also in a painting from teenth century, I refer to Pigler. For pertinent the collection of E. Schapiro in London examples in Kleinplastik see now my article {Theagenes andKnemon with the Body ofThisbe, on "The Authorship of the Walters 'Lucretia'," Aeth. II, 3-6; Kuznetsov p. 223, no. 129) and in a Journal of the Walters Art Gallery 23 [i960], drawing in Bremen {Chariclea before Hidaspes and pp. 73 ff. (Antonio Lombardi?). Persina, Aeth. X, 10-13; Kuznetsov p. 232, no. 37). I ought to have included a few words of com­ The most important addition is the publication ment on medieval interpretations of the story such of a series of six tapestries in the "Palace Frederick as Gesta Romanorum, chapter 135 (ed. Oesterley VIII," the present Royal Palace in Copenhagen [Berlin, 1872], pp. 489 ff.); here Lucretia stands for (Guy de Tervarent, Les Enigmes d'Art, vol. 4, LArt the Soul, and Tarquinius for the Devil, just as one savant [Bruges, 1952], chapter VIII: "Theagene et can find it in medieval interpretations of the myth Chariclee"), which represent the following scenes: of Apollo and Daphne (W. Stechow, Apollo und Theagenes and Chariclea on the Beach; Chariclea Daphne [Darmstadt, 1965], p. 5). Turned over to Charicles by the Ethiopian Priest; Series depicting the entire story of Lucretia The First Meeting of Theagenes and Chariclea; and Tarquinius exist not only on cassoni but also Persina Abandoning Chariclea; Theagenes in frescoes (Palazzo Vitelleschi [Museo Nazionale] Kneeling before Arsace; Wedding of Theagenes in Tarquinia, in the "international style"; kind and Chariclea. Tervarent considered these a partial communication from C. Gilbert) and sixteenth- replica of a series made in the workshop of Frans century tapestries (Institute of Fine Arts, New van den Planken (de la Planche) in Paris. In any York). On the subject of Lucretia killing herself at case, this is another proof of the predilection the banquet see Guy de Tervarent, "Le Banquet de of the Danish court for our subject. The series of Lucrece," in Les Enigmes d'Art, vol. 3 (Bruges, eight tapestries made in the workshop of Daniel 1946), pp. 72 ff. Pepersack in Rheims in fulfillment of a contract C. Gilbert also called my attention to Twelfth of 1638 remains to be found, but these tapestries Night, II, 5, where Malvolio identifies the writer of were made after the Dubois compositions in the infamous letter as Olivia: "and the impressure Fontainebleau, which have nothing to do with the her Lucrece, with which she uses to seal." A Copenhagen pieces. However, Tervarent has medallion (?) with Lucretia hangs from a ribbon at shown that at least one of the latter is based on the waist of Holbein's so-called Lady Margaret the corresponding engraving which illustrates Wyatt in the Metropolitan Museum in New Montlyard's 1626 translation of the Aethiopica. York—the perfect parallel to Lotto's portrait in The selection of the designs was left to Pepersack London (my note 31). (Heinrich Gobel, Wandteppiche, vol. 2, part 1 [Leipzig, 1928], p. 327). A considerable number

75 of drawings by Dubois for his Fontainebleau recorded there in Bulletin of the Allen Memorial Art decoration have been recently identified, particu­ Museum 27 [1969-70], p. 56). To this must now be larly by Sylvie Beguin; on them see now her entry added: S. L. Alpers, "Manner and Meaning in in exh. cat. LEcole de Fontainebleau (Paris, 1972), Some Rubens Mythologies," Journal of the Warburg nos. 87 and 88. and CourtauldInstitutes 30 (1967), pp. 272 ff (I The assumption of Hermann Braun ("Gerard have taken some exception to the author's criti­ und Willem van Honthorst," diss. Universitat cism of my views in my Rubens and the Classical Gottingen [1966], pp. 283 ff.), offered without Tradition [Cambridge, Mass., 1968]; see there pp. benefit of any stylistic analysis, that the Kronborg 67 ff. I should like to add to this now that when I series is by Willem rather then Gerard van said that Rubens told the story "well," I did not Honthorst is certainly unacceptable; for a careful mean to say that he told it dramatically, and that I treatment see J. Richard Judson, Gerrit van agree with Mrs. Alpers on most of her allegorical Honthorst (The Hague, 1959), pp. 117 ff and 212 ff. interpretations); J. Muller-Hofstede, "Aspekte The drawing I mentioned on p. 150, note 1, is der Entwurfszeichnung bei Rubens," in Stil given to Gerard van Honthorst by Braun, p. 249, und Uberlieferung in der Kunst des Abendlandes no. 101. It was not used in Kronborg. The (Akten des 21. International Kongresses fur preparatory drawing for Bloemaert's Crowning Kunstgeschichte in Bonn, 1964), vol. 3, Theorien of Theagenes by Chariclea is in the Albertina und Probleme (Berlin, 1967), pp. 114 ff; and quite (Cat. Benesch 1928, no. 438). recently Konrad Renger, "Plananderungen in Otto Weinreich's Nachwort (pp. 323-76) to Rubensstichen," Zeitschrift fur Kunstgeschichte yj Reymer's German translation of the Aethiopica (1974), pp. 1 ff. (in which he passed over my (Zurich, 1950) deserves careful attention. attempt to provide an allegorical explanation for the strange figure next to Pandrosos in the sketch in Count Seilern's collection; he takes it to be the old woman of the other versions, but her weird n. "The Finding of Erichthonius: An Ancient gesture makes that explanation appear quite Theme in Baroque Art," Studies in Western Art- impossible). A drawing for the girl on the left in Acts of the Twentieth International Congress of the the Liechtenstein picture was published by K. G. History of Art (Princeton, 1963), vol. 3, pp. 27-35. Boon in Bulletin van het Rijksmuseum 14 (1966), pp. 150 ff Pigler's list {Barockthemen, 1956) was utilized in my article. In the meantime more copies of the On the ancient representations of the myth, Richelieu canvas have come to my attention, some which I only touched upon in the present article, of them perhaps identical with those mentioned see now Enciclopedia dell'arte antica e orientale, vol. by Pigler. It is hardly worthwhile trying to 3 (Rome, i960), pp. 419 ff. (article by G. Becatti) disentangle them but it is interesting to see how and p. 414 (specifically on the "Erichthonius widespread the knowledge of Rubens's painting Painter," so-called for the pelike E 372 in the was (one of the copies is in the Museum in La British Museum). Corunia, Spain; kind communication from Colin An important passage on Erichthonius as the Eisler), because it appears to reflect a moment in inventor of the carriage and the quadriga was con­ the history of the Richelieu canvas not otherwise tributed by K.-A. Wirth to our joint article on the recorded: it is closely related to the Belvoir Castle subject in Reallexikon zur deutschen Kunstgeschichte modello but the standing daughter has already (Stuttgart, 1967), vol. 5, col. 1241 ff. been pulled up to the height of the herms as in That the Chicago drawing is the original by the final state (a change not observed by Blockland and the London one a copy was firmly Burchard), while the details of cornice and established by Ingrid Jost ("Studien zu Anthonis background still correspond to the modello. Blocklandt," diss. Universitat Cologne, i960, pp. The literature on the Oberlin fragment up 153 ff) and E. K. J. Reznicek {Die to 1967 is given in the Catalogue of European and Handzeichnungen von Hndrick Goltzius [Utrecht, American Painting and Sculpture in the Allen 1961], p. 144, note 19), but overlooked by Y. Memorial Art Museum, Oberlin College, 1967, p. 133 Hackenbroch, Connoisseur 154 (September 1963), p. (see also the correction of an error in the history as 18 (although she cited Reznicek).

76 The very lively painting of 1663 by Salomon gave us here the story of Gyges spying on the wife de Bray, the preparatory drawing for which was of Candaulos (sic). For this suggest he cites Cats mentioned in my note 13, reappeared in a ("1631"), according to whom Gyges "sat there for a Christie's sale, November 19,1971, no. 28. On the long time, pressed against the wall, hidden by the Salvator Rosa in Oxford see now Luigi Salerno, curtain; in the meantime the lady enters her room Salvator Rosa (Milan, 1963), p. 129, no. 64 and pi. and removes the underclothes from her naked 64. The canvas of 1645 by Samuel Hoffmann is limbs," whereupon "the eager fellow is all occupied reproduced in my Reallexikon article and discussed with gaping." There is perhaps no merit in in Jacob Reder, The Portraits of the Brignone Sale pointing to the totally different interpretation Family... (New York, 1941), p. 61 (with pi. 11). which this story was given by all other Dutch and The subject of a drawing by Hubert Robert Flemish painters of Rembrandt's time, but I (exh. Prints and Drawings with a Classical submit that in Boon's interpretations practically Reference, Rhode Island School of Design, nothing would have remained of the core of the Providence, 1965-66, no. 56) has been erroneously story, quite apart from the fact that the arrow identified with the Erichthonius story. would make no sense whatever.

12. "Joseph of Arimathea or Nicodemus?" in 15. '"Lusus Laetitiaeque Modus,' The AH Studien zur toskanischen Kunst. Festschriftfilr Quarterly 35 (1972), pp. 165-75. Ludivig Heydenreich (Munich, 1964), pp. 289-302.

16. "Jan Steen's Representations of the Marriage 13. "On Biisinck, Ligozzi and an Ambiguous in Cana," Nederlands Kunsthistorische Jaarboek 23 Allegory," in Essays in the History of Art Presented (1972), pp. 73-83. to Rudolf Wittkower (London, 1967), pp. 193-96.

17. "Rembrandt's Representations of the 'Raising 14. "Rembrandt's Woman with the Arrow? The of Lazarus,'" Los Angeles County Museum of Art Art Bulletin 53 (1971), pp. 487-92. Bulletin (1973), pp. 6-11.

K. G. Boon ("Amor en Venus of het 'Vroutgen An x-ray investigation of the Los Angeles Lazarus met een pappotgen,'" De Kroniek van het by Ben Johnson has revealed important pentimen- Rembrandthuis 26 [1972], pp. 27 ff.) has objected to ti. The figure of Martha in the lower left fore­ my identification on the ground that a) Titus did ground was not there originally; instead there was not name the subject; b) he must have used the a strip of elevated terrain sloping down toward the term "pappotje" for a young man rather than a right. It is possible that the upper part of the boy; c) the subject does not reflect any playful atti­ figure, which was originally visible above the back tude; and d) Venus is never shown with her face of the man with the beret but was then obliterated turned away. To this I would reply that a) Titus by a smooth area of light, belonged to a first state may as easily have been baffled by his father's of Martha. In other words, the original form of unusual treatment of the subject as has been nearly the Los Angeles painting was nearer to both the everybody since; b) no other Dutch scholar has London drawing and the Lievens composition, been offended by the identification of "pappotje" while the present one clearly anticipates the with a child; c) the act of withholding the arrow Martha of the first state of the etching of 1633. from Cupid by Venus, who looks at him, is cer­ The heads to the right of Christ in the center tainly as playful as one could expect from a master may have been originally more clearly visible who saw more in the scene than a "genre" subject; and may have been toned down in order to make and d) Rembrandt made a marvelous point of the near-exclusive dialogue between Christ and identifying Venus not by her face but by her body. Lazarus (which I stressed in my text) even more Boon's solution of the problem is that Rembrandt prominent.

77 I would also call attention to the very interesting painting of the subject by the young Pieter de Grebber (dated 1632) in the Turin Pinacoteca (Photo Min. Pubbl. Instr. E. 12471; exh. Rome 1928, no. 39), which is an adaptation of the Los Angeles painting in reverse. 1

78 Acquisitions Sculpture Norman Lee Tinker, Karel Dujardin, Fiscal Year 1996-97 American, b. 1932 Dutch, 1622-1678 Louise Nevelson, Untitled, n.d. The Country Woman and American, 1899-1988 Ink and ink wash on paper the Sumpter, n.d. Paintings Sky Gate IV, 1973 21.9 x 37.2 cm Etching Painted wood (8 5/8 x 14 5/8 in.) 16.4 x 20 cm Kenneth Callahan, 103.9 x 73 x 25.4 cm Gift of Geoffrey and Jane (6 7/16 x 7 7/8 in.) American, 1905-1986 (40 1/2 x 28 3/4 x 10 in.) Blodgett, 1997.8.1 Richard Lee Ripin Fund, Cone and Cube, 1977 Gift of the American Art 1996.10 Tempera and oil on wood Foundation, 1996.22 Norman Lee Tinker, 120.7 x 59-7 cm American, b. 1932 Hishikawa Moronobu, (47 1/2 x 23 1/2 in.) Drawings Untitled, n.d. Japanese, d. 1694 Gift of Charlton Williams Ink and ink wash on paper Sugataye Hyakunin Isshu, in Memory of his Wife, Dutch 60.3 x 48.3 cm n.d. Sylvia Hill Williams The Frame Maker, (23 3/4 x 19 in.) Woodblock print, ink (OC 1957), 1996.9 17th century Gift of Geoffrey and Jane on paper Ink and wash on paper Blodgett, 1997.8.2 71/2x5 3/4 in. (19 x 14.6 cm) Paul Jenkins, 19.7 x 14.9 cm Gift of Richard and Priscilla American, b. 1923 (7 3/4 x 5 7/8 in.) Collage & Mixed Media Hunt, 1997.7.3 Phenomena Diagonal Joseph A. Baird Art Right or Left, 1976 Acquisition Fund, 1997.1 Ann Hamilton, Japanese; Unidentified Acrylic on canvas American, b. 1956 Seated Poet with Landscape 182.7 x I26-4 cm •Bt*3*^M : i Untitled (Stonebook), 1992 (from the series One (7115/16 x 49 3/4 in.) Book, stones, lacquered Hundred Poets), n.d. Gift of Stanley Roth, Jr., m % birch, glass Woodblock print, ink and father of Steven Roth dLm -£~~ \ 15.2 x yj.j x 22.9 cm hand coloring on paper (OC 1977), 1996.8 (6 x 29 x 9 in.) 30.5 x 19 cm (12 x 7 1/2 in.) Oberlin Friends of Art Fund, Gift of Richard and Priscilla Joan Mitchell, .-sfvKEf^mWk/; C-, i 1996.14 Hunt, 1997.7.4 American, 1926-1992 Cafe', 1956 Tim Rollins and K.O.S., Christoffel Jegher, Oil on canvas ^^^J^iH ^HK *3^K^3IF'* *i American, b. 1955 Flemish, 1596-1652/3; 119.4 x 125.7 cm Malcolm X, n.d. after Peter Paul Rubens, (47 x 49 1/2 in.) Collage Flemish, 1577-1640 Gift of her Family in 58.1 x 78.1 cm The Drunken Silenus, Led by

Memory of Chloe _» . >i> (22 7/8 x 30 3/4 in.) a Satyr and Faun, ca. 1633-36 Hamilton Young, 1996.20 Gift of Stan Kim (OC 1990) Woodcut in Memory of Daniel Lee 44.5 x 34.3 cm Nichols, 1996.18 (17 1/2 x 13 1/2 in.) Adam Elsheimer, Wolfgang Stechow Print German, 1578-1610 Prints Acquisition Fund, 1996.13 Sylvan Scene, n.d. Ink on paper Samuel Butnik, Daniel Kelly, 5.4 x 7.6 cm (21/8x3 in.) American, b. 1920 American, b. 1947 Gift of Lisa and Leonard Variations, Phase D, No. 3, October, 1996 Baskin in honor of the 1988 Woodblock Graduation of their Monotype 153.7 x 2°7 cm Daughter Lucretia M. 56.5 x 76.4 cm (60 1/2 x 811/2 in.) Baskin (OC 1996), 1996.5 (22 1/4 x 30 1/16 in.) Richard Lee Ripin Fund, Gift of the Artist, 1996.16 1997.10 Judy Pfaff, English, b. 1946 Alexander Calder, Untitled, 1992 American, 1898-1976 Mixed media on paper, Bateau Noir, 1972 including collage, oilstick, Color lithograph charcoal, ink, and watercolor 58.1 x 78.1 cm 53 x 77.2 cm (22 7/8 x 30 3/4 in.) (20 7/8 x 30 3/8 in.) Gift of Janet Knapp Byles Oberlin Friends of Art (OC 1944). 1996.19 Fund, 1996.7

79 Maximilien Luce, Faith Ringgold, Utagawa Kunisada I, Yukinori Yanagi, French, 1858-1941 American, b. 1930 also called Toyokuni III, Japanese, b. 1959 Chez L'Imprimeur Deldtre, The Sunflower Quilting Bee Japanese, 1786-1864 Untitled (Print #4), from ca. 1888 at Aries, April 1996 Preparing Fish on a Veranda Hinomaru, 1991 Lithograph Color lithograph (no. 36 from the series Sono Lithograph, embossing, 18.7 x 13.3 cm 57.2 x 76.2 cm sugata yukari no utsushie), ca. collage (73/8x5 1/4 in.) (22 1/2 x 30 in.) 1847-52 84 x 61 cm (33 1/16 x 24 in.) Young-Hunter Art Museum Gift of Mr. and Mrs. Paul Woodblock print, ink and Roush Fund for Acquisition Fund, 1996.11 Arnold, 1996.21 color on paper Contemporary Art, 1996.17.4 25-5 x 37-5 cm Maximilien Luce, James Rosenquist, (10 1/16 x 14 3/4 in.) Yukinori Yanagi, French, 1858-1941 American, b. 1933 Gift of Jonathon and Japanese, b. 1959 Auguste Deldtre au travail, Campaign, 1965 Matthew Harris, 1997.9.3 Untitled (Print #5), from 1895 Lithograph Hinomaru, 1991 Etching 72.4 x 54.4 cm Utagawa Kunisada I, Lithograph, embossing, 20.1 x 45 cm (28 1/2 x 21 7/16 in.) also called Toyokuni III, collage (7 15/16 x 5 7/8 in.) Transferred from the Rental Japanese, 1786-1864 84 x 61 cm (33 1/16 x 24 in.) Young-Hunter Art Museum Collection to the Permanent Three Samurai Gazing at Two Roush Fund for Acquisition Fund, 1996.12 Collection via the Art Women Across a Stream (no. Contemporary Art, 1996.17.5 Museum Gift Fund, 1997.5 20 from the series Sono suga­ Roy Lichtenstein, ta yukari no utsushie) Yukinori Yanagi, American, 1923-1997 Wayne Thiebaud, ca. 1847-52 Japanese, b. 1959 Crying Girl, 1964 American, b. 1920 Woodblock print, ink and Untitled (Print #6), from Silkscreen Triangle Thins, 1971 color on paper Hinomaru, 1991 44.2 x 58.6 cm Aquatint 25.2 x 36 cm Lithograph, embossing, (17 3/8 x 23 1/16 in.) 55 x 44.5 cm (9 15/16 x 14 3/16 in.) collage Transferred from the Rental (21 5/8 x 17 1/2 in.) Gift of Jonathon and 84 x 61 cm (33 1/16 x 24 in.) Collection to the Permanent Transferred from the Rental Matthew Harris, 1997.9.4 Roush Fund for Collection via the Art Collection to the Permanent Contemporary Art, 1996.17.6 Museum Gift Fund, 1997.3 Collection via the Art Yukinori Yanagi, Museum Gift Fund, 1997.4 Japanese, b. 1959 Nishikawa Sukenobu, Untitled (Print #1), from Photographs Japanese, 1671-1751 Utagawa Kunisada I, Hinomaru, 1991 Woman Arranging Flowers, also called Toyokuni III, Lithograph, embossing, Jeanne Dunning, from an album of portraits Japanese, 1786-1864 collage American, b. i960 of women, n.d. Women Overlooking a Carp 84 x 61 cm (33 1/16 x 24 in.) Sample 7,1992 Woodblock print, ink with Pond (no. 50 from the series Roush Fund for Cibachrome mounted hand coloring on paper Sono sugata yukari no Contemporary Art, 1996.17.1 to plexiglass 26.2 x 16.5 cm utsushie), ca. 1847-52 112.7 x 76.5 cm (10 5/16 x 6 1/2 in.) Woodblock print, ink and Yukinori Yanagi, (44 3/8 x 30 1/8 in.) Gift of Richard and Priscilla color on paper Japanese, b. 1959 Oberlin Friends of Art Hunt, 1997.7.1 25 x 36 cm Untitled (Print #2), from Fund, 1997.6 (9 13/16 x 14 3/16 in.) Hinomaru, 1991 Nishikawa Sukenobu, Gift of Jonathon and Lithograph, embossing, Harold E. Edgerton, Japanese, 1671-1751 Matthew Harris, 1997.9.1 collage American, 1903-1990 Three Women and a Girl 84 x 61 cm (^j 1/16 x 24 in.) Bullet Through Jack of Hearts, beside a Tree, n.d. Utagawa Kunisada I, Roush Fund for 1960s Woodblock print, ink also called Toyokuni III, Contemporary Art, 1996.17.2 Gelatin silver print on paper Japanese, 1786-1864 40.6 x 50.8 cm (16 x 20 in.) 25.4 x 33.3 cm (10 x 13 1/8 in.) Four Women Beside the Sea Yukinori Yanagi, Gift of the Harold and Gift of Richard and Priscilla (no. 25 from the series Sono Japanese, b. 1959 Esther Edgerton Family Hunt, 1997.7.2 sugata yukari no utsushie), ca. Untitled (Print #3), from Foundation, 1996.15.1 1847-52 Hinomaru, 1991 Guido Reni, Woodblock print, ink and Lithograph, embossing, Harold E. Edgerton, Italian, 1575-1642; after Luca color on paper collage American, 1903-1990 Cambiaso, Italian, 1527-1585 25 x 36 cm 84 x 61 cm (33 1/16 x 24 in.) Tumblers, 1942 Angels in Glory, 1607 (9 13/16 x 14 3/16 in.) Roush Fund for Gelatin silver print Etching Gift of Jonathon and Contemporary Art, 1996.17.3 50.8 x 40.6 cm (20 x 16 in.) 40.6 x 27.6 cm Matthew Harris, 1997.9.2 Gift of the Harold and (16 x 10 7/8 in.) Esther Edgerton Family Richard Lee Ripin Fund, Foundation, 1996.15.2 1997.2 8O Harold E. Edgerton, Harold E. Edgerton, American, 1903-1990 Acquisitions American, 1903-1990 American, 1903-1990 Coronet, 1957 Fiscal Year 1997-98 Atomic Bomb Explosion, Pigeon in Flight, 1965 Dye transfer print before 1952 Dye transfer print 50.8 x 40.6 cm (20 x 16 in.) Paintings Gelatin silver print 50.8 x 40.6 cm (20 x 16 in.) Gift of the Harold and 50.8 x 40.6 cm (20 x 16 in.) Gift of the Harold and Esther Edgerton Family Rimer Cardillo, Gift of the Harold and Esther Edgerton Family Foundation, 1996.15.15 Uruguayan, b. 1944 Esther Edgerton Family Foundation, 1996.15.9 Untitled, 1996 Foundation, 1996.15.3 Harold E. Edgerton, Silkscreen on canvas Harold E. Edgerton, American, 1903-1990 193 x 163.8 cm Harold E. Edgerton, American, 1903-1990 Placement Kink, 1938 (76 x 64 1/2 in.) American, 1903-1990 Bullet Through Jack of Dye transfer print Gift of Cristina Delgado The Firing of an Antique Diamonds, 1960s 50.8 x 40.6 cm (20 x 16 in.) and Stephen F. Olsen, Revolver, 1936 Dye transfer print Gift of the Harold and 1997-37-4 Gelatin silver print 40.64 x 50.8 cm (16 x 20 in.) Esther Edgerton Family 40.6 x 50.8 cm (16 x 20 in.) Gift of the Harold and Foundation, 1996.15.16 Chinese Gift of the Harold and Esther Edgerton Family Arhat and Attendants, Esther Edgerton Family Foundation, 1996.15.10 Harold E. Edgerton, 14th century Foundation, 1996.15.4 American, 1903-1990 Hanging scroll, ink and Harold E. Edgerton, Moving Skip Rope, 1952 color on silk Harold E. Edgerton, American, 1903-1990 Gelatin silver print 86.34 x 34.3 cm (34 x 13 in.) American, 1903-1990 Bullet Through an Apple, 1964 22.9 x 27.9 cm (9 x 11 in.) Gift of Carol S. Brooks in Dye transfer print Gift of the Harold and Bullet Through a Light Bulb, honor of her father, George 40.6 x 50.8 cm (16 x 20 in.) Esther Edgerton Family 1934 J. Schlenker, and R. T Gift of the Harold and Foundation, 1996.15.17 Gelatin silver print Miller, Jr. Fund, 1997.29.16 40.6 x 50.8 cm (16 x 20 in.) Esther Edgerton Family Foundation, 1996.15.11 Harold E. Edgerton, Gift of the Harold and Chinese American, 1903-1990 Esther Edgerton Family Scholar Walking Beneath Bare Foundation, 1996.15.5 Harold E. Edgerton, Bullet Through King of Trees, ca. 1400-1499 American, 1903-1990 Diamonds, 1960s Ink and color on silk Harold E. Edgerton, Bullet Through a Banana, Dye transfer print 137.2 x 91.4 cm (54 x 36 in.) American, 1903-1990 1960s 22.9 x 27.9 cm (9 x 11 in.) Gift of Carol S. Brooks in Fan and Smoke Vorticies, 1934 Dye transfer print Gift of the Harold and honor of her father, George Gelatin silver print 50.8 x 40.6 cm (20 x 16 in.) Esther Edgerton Family J. Schlenker, and R. T 50.8 x 40.6 cm (20 x 16 in.) Gift of the Harold and Foundation, 1996.15.18 Miller, Jr. Fund, 1997.29.17 Gift of the Harold and Esther Edgerton Family Esther Edgerton Family Foundation, 1996.15.12 Harold E. Edgerton, Cui He, Foundation, 1996.15.6 American, 1903-1990 Chinese, active 19th century Harold E. Edgerton, Colophon Page, n.d. Family Group, 1844 Harold E. Edgerton, American, 1903-1990 Portfolio Ink and color on paper American, 1903-1990 Moscow Circus Acrobats, 1963 60.9 x 50.8 cm (24 x 20 in.) 107.3 x 55.9 cm Ouch! (Archery), 1934 Dye transfer print Gift of the Harold and (42 1/4 x 22 in.) Gelatin silver print 40.6 x 50.8 cm (16 x 20 in.) Esther Edgerton Family Gift of Charles and Hannah 40.6 x 50.8 cm (16 x 20 in.) Gift of the Harold and Foundation, 1996.15.19 Mason, 1998.1 Gift of the Harold and Esther Edgerton Family Esther Edgerton Family Foundation, 1996.15.13 Gao Fenghan, Foundation, 1996.15.7 Chinese, 1683-1749 Harold E. Edgerton, Pine and Rock (from the Harold E. Edgerton, American, 1903-1990 album Flowers, Rocks, American, 1903-1990 Juice Dropping into Milk, Bamboo and Landscapes, Bullet Through Flame, 1978 dated 1733) ca. 1973 Dye transfer print Ink monochrome finger Dye transfer print 50.8 x 40.6 cm (20 x 16 in.) painting 50.8 x 40.6 cm (20 x 16 in.) Gift of the Harold and 25.4 cm x 32.4 cm Gift of the Harold and Esther Edgerton Family (10 x 12 3/4 in.) Esther Edgerton Family Foundation, 1996.15.14 Gift of Carol S. Brooks in Foundation, 1996.15.8 Harold E. Edgerton, honor of her father, George J. Schlenker, and R. T Miller, Jr. Fund, 1997.29.iA

8l Gao Fenghan, Gao Fenghan, Gao Fenghan, Japanese Chinese, 1683-1749 Chinese, 1683-1749 Chinese, 1683-1749 White-robed Guanyin, An Old Studio Shaded by Spring Landscape with Village Bamboo in the Snow ca. 1400-1500 Pawlonia Trees (from the (from the album Flowers, (from the album Flowers, Hanging scroll, ink on silk album Flowers, Rocks, Rocks, Bamboo and Rocks, Bamboo and 95.3 x 45.7 cm (37 1/2 x 18 in.) Bamboo and Landscapes, Landscapes, dated 1733) Landscapes, dated 1733) Gift of Carol S. Brooks in dated 1733) Ink and color on paper Ink monochrome finger honor of her father, George Ink and color on paper 25.4 cm x 32.4 cm painting on paper J. Schlenker, and R. T 25.4 cm x 32.4 cm (10 x 12 3/4 in.) 25.4 cm x 32.4 cm Miller, Jr. Fund, 1997.29.18 (10 x 12 3/4 in.) Gift of Carol S. Brooks in (10 x 12 3/4 in.) Gift of Carol S. Brooks in honor of her father, George Gift of Carol S. Brooks in Jiang Dalai, honor of her father, George J. Schlenker, and R. T honor of her father, George Chinese, 1744-after 1839 J. Schlenker, and R. T Miller, Jr. Fund, 1997.29.iF J. Schlenker, and R. T Landscape, 1811 Miller, Jr. Fund, 1997.29.IB Miller, Jr. Fund, 1997.29.1J Ink on paper Gao Fenghan, 17.8 x 81.3 cm (7 x 32 in.) Gao Fenghan, Chinese, 1683-1749 Gao Fenghan, Gift of Carol S. Brooks in Chinese, 1683-1749 Two Garden Rocks (from Chinese, 1683-1749 honor of her father, George Pines on Peaks above the the album Flowers, Rocks, Chrysanthemums and Rock J. Schlenker, and R. T Clouds (from the album Bamboo and Landscapes, (from the album Flowers, Miller, Jr. Fund, 1997.29.3 Flowers, Rocks, Bamboo dated 1733) Rocks, Bamboo and and Landscapes, dated 1733) Ink monochrome painting Landscapes, dated 1733) Li Liufang, Ink and color finger painting on paper Ink monochrome finger Chinese, 1575-1629 on paper 25.4 cm x 32.4 cm painting on paper Gazing at Snow along 25.4 cm x 32.4 cm (10 x 12 3/4 in.) 25.4 cm x 32.4 cm the Riverbank, 1616 (10 x 12 3/4 in.) Gift of Carol S. Brooks in (10 x 12 3/4 in.) (Ming Dynasty) Gift of Carol S. Brooks in honor of her father, George Gift of Carol S. Brooks in Handscroll, ink on honor of her father, George J. Schlenker, and R. T honor of her father, George gold-ground paper J. Schlenker, and R. T Miller, Jr. Fund, 1997.29.iG J. Schlenker, and R. T. 27.9 x 213.4 cm (11 x 84 in.) Miller, Jr. Fund, 1997.29.iC Miller, Jr. Fund, 1997.29.iK Gift of Carol S. Brooks in Gao Fenghan, honor of her father, George Gao Fenghan, Chinese, 1683-1749 Gao Fenghan, J. Schlenker, and R. T Chinese, 1683-1749 Five Garden Rocks (from Chinese, 1683-1749 Miller, Jr. Fund, 1997.29.4 Stone Cliff at the Pond of the album Flowers, Rocks, Prunus Blossoms (from Heaven (from the album Bamboo and Landscapes, the album Flowers, Rocks, Li Shan, Flowers, Rocks, Bamboo and dated 1733) Bamboo and Landscapes, Chinese, 1686-ca. 1764 Landscapes, dated 1733) Ink monochrome painting dated 1733) Pink Blossom (from the Ink monochrome painting on paper Ink and color on paper album Flowers, dated 1738) on paper 25.4 cm x 32.4 cm 25.4 cm x 32.4 cm Ink and color on paper 25.4 cm x 32.4 cm (10 x 12 3/4 in.) (10 x 12 3/4 in.) 26.7 x 34.3 cm (10 x 12 3/4 in.) Gift of Carol S. Brooks in Gift of Carol S. Brooks in (10 1/2 x 13 1/2 in.) Gift of Carol S. Brooks in honor of her father, George honor of her father, George Gift of Carol S. Brooks in honor of her father, George J. Schlenker, and R. T J. Schlenker, and R. T honor of her father, George J. Schlenker, and R. T Miller, Jr. Fund, 1997.29.iH Miller, Jr. Fund, 1997.29.1L J. Schlenker, and R. T Miller, Jr. Fund, 1997.29.iD Miller, Jr. Fund, 1997.29.5A Gao Fenghan, Huang Binhong, Gao Fenghan, Chinese, 1683-1749 Chinese, 1864-1955 Li Shan, Chinese, 1683-1749 Tree Poeny (from the album Landscape with a Temple Chinese, 1686-ca. 1764 Wintry Landscape with Flowers, Rocks, Bamboo on the Crest of a Bluff, n.d. Yellow Orchid (from the Fisherman (from the album and Landscapes, dated 1733) Ink and color on paper album Flowers, dated 1738) Flowers, Rocks, Bamboo and Ink and color on paper 81.3 x 40.6 cm (32 x 16 in.) Color on paper Landscapes, dated 1733) 25.4 cm x 32.4 cm Gift of Carol S. Brooks in 26.7 x 34.3 cm Ink and color on paper (10 x 12 3/4 in.) honor of her father, George (10 1/2 x 13 1/2 in.) 25.4 cm x 32.4 cm Gift of Carol S. Brooks in J. Schlenker, and R. T. Gift of Carol S. Brooks in (10 x 12 3/4 in.) honor of her father, George Miller, Jr. Fund, 1997.29.2 honor of her father, George Gift of Carol S. Brooks in J. Schlenker, and R. T J. Schlenker, and R. T honor of her father, George Miller, Jr. Fund, 1997.29.il Miller, Jr. Fund, 1997.29.5B J. Schlenker, and R. T Miller, Jr. Fund, 1997.29.iE

82 Li Shan, Li Shan, Wang Jian, Wang Zhen, Chinese, 1686-ca. 1764 Chinese, 1686-ca. 1764 Chinese, 1598-1677 Chinese, 1867-1938 Lotus (from the album Narcissus and Berries Landscape in the Manner Birds, Rocks and Flowers, 1931 Flowers, dated 1738) (from the album Flowers, of Zhao Mengfu, Ink and color on paper Ink monochrome painting dated 1738) Qing Dynasty, 1661 135.9 x 33 cm (53 1/2 x 13 in.) on paper Ink and color on paper Hanging scroll, ink Gift of Carol S. Brooks in 26.7 x 34.3 cm 26.7 x 34.3 cm on paper honor of her father, George (10 1/2 x 13 1/2 in.) (10 1/2 x 13 1/2 in.) 91.4 x 45.7 cm (36 x 18 in.) J. Schlenker, and R. T Gift of Carol S. Brooks in Gift of Carol S. Brooks in Gift of Carol S. Brooks in Miller, Jr. Fund, 1997.29.11 honor of her father, George honor of her father, George honor of her father, George J. Schlenker, and R. T. J. Schlenker, and R. T. J. Schlenker, and R. T Xie Shichen, Miller, Jr. Fund, 1997.29.5C Miller, Jr. Fund, 1997.29.5H Miller, Jr. Fund, 1997.29 Chinese, 1488-after 1567 Lin Bu Gazing at the Li Shan, Lu Huancheng, Reflection of the Moon in Chinese, 1686-ca. 1764 Chinese, 1630-ca. 1710 the Water, n.d. Budding Branch (from the Mountain Landscape, Ink and color on silk album Flowers, dated 1738) after Jing Hao, n.d. 177.8 x 88.9 cm (70 x 35 in.) Color on paper Ink and color on silk Gift of Carol S. Brooks in 26.7 x 34.3 cm 177.8 x 88.9 cm (70 x 35 in.) honor of her father, George (10 1/2 x 13 1/2 in.) Gift of Carol S. Brooks in J. Schlenker, and R. T Gift of Carol S. Brooks in honor of her father, George Miller, Jr. Fund, 1997.29.12 honor of her father, George J. Schlenker, and R. T J. Schlenker, and R. T Miller, Jr. Fund, 1997.29.6 Yuan Jiang, Miller, Jr. Fund, 1997.29.5D Chinese, active ca. 1690-1740 Que Lan, The Hall of Green Wilderness, Li Shan, Chinese, 1758-1844, et al. Qing dynasty, 18th century Chinese, 1686-ca. 1764 Commemorative Album Hanging scroll, ink and Yellow Peony (from the for Lady Danxiang color on silk album Flowers, dated 1738) (Ge Xiuying), 1792 156.2 x 66.4 cm Ink and color on paper Ink and color on paper (61 1/2 x 26 1/8 in.) 26.7 x 34.3 cm 36.2 x 21.0 cm Gift of Carol S. Brooks in (10 1/2 x 13 1/2 in.) (14 1/4x8 1/4 in.) honor of her father, George Gift of Carol S. Brooks in R.T. Miller, Jr. Fund, J. Schlenker, and R. T honor of her father, George 1997.30 Miller, Jr. Fund, 1997.29.13 J. Schlenker, and R. T Miller, Jr. Fund, 1997.29.5E Shen Zhou, Zhang Hong, Chinese, 1427-1509 Wang Yuanqi, Chinese, 1577-1668 Li Shan, The White Cloud Spring Chinese, 1642-1715 Nymph of the Lo River Chinese, 1686-ca. 1764 (Scenery ofWu), n.d. Landscape in the Manner (from the album Figures Orchid (from the album Handscroll, ink and color ofNi Zan, 1710 in Settings, dated 1649) Flowers, dated 1738) on silk Ink on paper Ink and color on silk Ink monochrome painting 38.1 x 675.6 cm (15 x 266 in.) 96.5 x 42.5 cm 28.6 x 20.3 cm (11 1/4x8 in.) on paper Gift of Carol S. Brooks in (38 x 16 3/4 in.) Gift of Carol S. Brooks in 26.7 x 34.3 cm honor of her father, George Gift of Carol S. Brooks in honor of her father, George (10 1/2 x 13 1/2 in.) J. Schlenker, and R. T honor of her father, George J. Schlenker, and R. T Gift of Carol S. Brooks in Miller, Jr. Fund, 1997.29.7 J. Schlenker, and R. T Miller, Jr. Fund, 1997.29.14A honor of her father, George Miller, Jr. Fund, 1997.29.9 J. Schlenker, and R. T Zhang Hong, Miller, Jr. Fund, 1997.29.5F Wang Yun, Chinese, 1577-1668 Chinese, 1652-ca. 1735 Spring Literary Gathering Li Shan, Man Seated on a Ledge (from the album Figures Chinese, i686-ca. 1764 Gazing at Birds, 1707 in Settings, dated 1649) Chrysanthemums (from the Ink and color on silk Ink and color on silk album Flowers, dated 1738) 22.2 x 21.9 cm 28.6 x 20.3 cm (11 1/4x8 in.) Ink monochrome painting (8 3/4 x 8 5/8 in.) Gift of Carol S. Brooks in on paper Gift of Carol S. Brooks in honor of her father, George 26.7 x 34.3 cm honor of her father, George J. Schlenker, and R. T (10 1/2 x 13 1/2 in.) J. Schlenker, and R. T Miller, Jr. Fund, 1997.29.14B Gift of Carol S. Brooks in Miller, Jr. Fund, 1997.29.10 honor of her father, George J. Schlenker, and R. T Miller, Jr. Fund, 1997.29.5G 83 Zhang Hong, Zhang Hong, Zhang Hong, Mary Judge, Chinese, 1577-1668 Chinese, 1577-1668 Chinese, 1577-1668 American, b. 1953 Ni Zan Watching Servants Watching Boys Catching Su Wu and Li Ling Herding Untitled Spolvero Wash the Tong Trees Willow Blossoms (from the Sheep (from the album Drawing/Concentric (from the album Figures album Figures in Settings, Figures in Settings, Shape Series, 1997 in Settings, dated 1649) dated 1649) dated 1649) Powdered burnt umber Ink and color on silk Ink and color on silk Ink and color on silk pigment on rag paper 28.6 x 20.3 cm (11 1/4 x 8 in.) 28.6 x 20.3 cm (11 1/4 x 8 in.) 28.6 x 20.3 cm (11 1/4 x 8 in.) 96.5 x 76.2 (38 x 30 in.) Gift of Carol S. Brooks in Gift of Carol S. Brooks in Gift of Carol S. Brooks in Gerber Contemporary Art honor of her father, George honor of her father, George honor of her father, George Acquisition Fund, 1998.2 J. Schlenker, and R. T J. Schlenker, and R. T. J. Schlenker, and R. T. Miller, Jr. Fund, 1997.29.14C Miller, Jr. Fund, 1997.29.14H Miller, Jr. Fund, 1997.29.14L David Rabinowitch, Canadian, b. 1943 Zhang Hong, Zhang Hong, Zhang Hong, Untitled, 1993-94 Chinese, 1577-1668 Chinese, 1577-1668 Chinese, 1577-1668 Crayon on paper Firewood Gatherers Zhang Xu Understands Tao Yuanming (from the 76 x 58 cm (from the album Figures Calligraphy After Watching album Figures in Settings, (29 15/16 x 22 13/16 in.) in Settings, dated 1649) the Sword Dance (from the dated 1649) Young-Hunter Art Museum Ink and color on silk album Figures in Settings, Ink and color on silk Acquisition Fund, 1997.11 28.6 x 20.3 cm (11 1/4 x 8 in.) dated 1649) 28.6 x 20.3 cm (111/4x8 in.) Gift of Carol S. Brooks in Ink and color on silk Gift of Carol S. Brooks in David Rabinowitch, honor of her father, George 28.6 x 20.3 cm (11 1/4x8 in.) honor of her father, George Canadian, b. 1943 J. Schlenker, and R. T Gift of Carol S. Brooks in J. Schlenker, and R. T Untitled, 1993-94 Miller, Jr. Fund, 1997.29.14D honor of her father, George Miller, Jr. Fund, 1997.29.14M Crayon on paper J. Schlenker, and R. T 76 x 58 cm Zhang Hong, Miller, Jr. Fund, 1997.29.14I Zhang Hong, (29 15/16 x 22 13/16 in.) Chinese, 1577-1668 Chinese, 1577-1668 Ruth Roush Fund for Village Schoolroom Zhang Hong, Qian Liu and Archers Contemporary Art, 1997.12 (from the album Figures Chinese, 1577-1668 Shooting the Hanzhou Tidal in Settings, dated 1649) The Joys of Fisherfolk Bore (from the album Figures Ink and color on silk (from the album Figures in Settings, Collage & Mixed Media 28.6 x 20.3 cm (11 1/4 x 8 in.) in Settings, dated 1649) dated 1649) Gift of Carol S. Brooks in Ink and color on silk Ink and color on silk IRWIN (Dusan Mandic), honor of her father, George 28.6 x 20.3 cm (111/4 x 8 in.) 28.6 x 20.3 cm (n 1/4 x 8 in.) Slovenian J. Schlenker, and R. T Gift of Carol S. Brooks in Gift of Carol S. Brooks in I2.j.igi4,1995 Miller, Jr. Fund, 1997.29.14E honor of her father, George honor of her father, George Mixed media J. Schlenker, and R. T J. Schlenker, and R. T 53.3 x 38.1 x 3.8 cm Zhang Hong, Miller, Jr. Fund, 1997.29.14J Miller, Jr. Fund, 1997.29.14N (21 x 15 x 1 1/2 in.) Chinese, 1577-1668 Ruth Roush Fund for Inscribing a Banana Leaf Zhang Hong, Zhang Daqian, Contemporary Art, 1997.15 (from the album Figures Chinese, 1577-1668 Chinese, 1899-1983 in Settings, dated 1649) Exam in ing Antiquities River Landscape, 1934 Ink and color on silk (from the album Figures Ink and color on paper 28.6 x 20.3 cm (11 1/4 x 8 in.) in Settings, dated 1649) 121.9 x 66 cm (48 x 26 in.) Gift of Carol S. Brooks in Ink and color on silk Gift of Carol S. Brooks in honor of her father, George 28.6 x 20.3 cm (111/4 x 8 in.) honor of her father, George J. Schlenker, and R. T. Gift of Carol S. Brooks in J. Schlenker, and R. T Miller, Jr. Fund, 1997.29.14F honor of her father, George Miller, Jr. Fund, 1997.29.15 J. Schlenker, and R. T Zhang Hong, Miller, Jr. Fund, 1997.29.14K Chinese, 1577-1668 Drawings Foreigners Worshiping the Buddha (from the Carlos Capelan, album Figures in Settings, Uruguayan, b. 1948 dated 1649) Untitled (Hand), 1991 Ink and color on silk India ink, earth, red 28.6 x 20.3 cm (11 1/4x8 in.) ochre on paper Gift of Carol S. Brooks in (Scandinavian map) honor of her father, George 23.8 x 31 cm J. Schlenker, and R. T. (9 3/8 x 12 3/16 in.) Miller, Jr. Fund, 1997.29.14G Gift of Cristina Delgado and Stephen F. Olsen, 1997.37.1 Raquel Mendieta, Domenico Campagnola, Tomas Esson, Inagaki Toshijiro, Cuban Italian, 1500-1564 Cuban, b. 1963 Japanese, 1902-1963 KalyAni, 1989 Descent of the Holy Spirit, 1518 Untitled, 1996 Village in the Mountains, Collage on amante paper Etching Color etching ca. 1950s 68.58 x 48.26 cm (27 x 19 in.) 19 x 17.5 cm (7 1/2 x 6 7/8 in.) 27 x 42.9 cm Woodblock print, ink and Gift of Cristina Delgado Richard Lee Ripin Fund, (10 5/8 x 16 7/8 in.) color on paper and Stephen F. Olsen, 1997.32 Gift of Cristina Delgado 30.5 x 40.1 cm (12 x 15 3/4 in.) 1997.37.3 and Stephen F. Olsen, Gift of Sarah G. Epstein Vija Celmins, 1997-37-5 (OC 1948), 1997.41-2 American, b. 1939 Untitled, 1970 Ismael Frigerio, Inagaki Toshijiro, Lithograph Chilean, b. 1955 Japanese, 1902-1963 54.6 x 81.4 cm Sacred Blood, 1990 Farmer with Ox, 1950s (21 1/2 x 32 1/16 in.) Serigraph Woodblock print, ink and Transferred from the Rental 41 x 31.1 cm color on paper Collection to the permanent (16 1/8 x 12 1/4 in.) 25.4 x 33.7 cm (10 x 13 1/4 in.) collection via Art Museum Gift of Cristina Delgado Gift of Sarah G. Epstein Gift Fund, 1997.13 and Stephen F Olsen, (OC 1948), 1997.413 1997.37.2 Francesco Clemente, Inagaki Toshijiro, Italian, b. 1952 Japanese, 1902-1963 Scream, 1982 Temple, 1950s Etching, mezzotint, and Woodblock print, ink collage elements on paper on paper 20.3 x 36.8 cm (8 x 14 ilz in.) 28.9 x 38.4 cm Gift of Ricardo D. Barreto, (11 3/8 x 15 1/8 in.) 1997.42 Gift of Sarah G. Epstein (OC 1948), 1997.414 Cesar Trasobares, Cuban Ito Sozan, Upon, 1997 Japanese, 1884-? Mixed media with watch Geese Flying by Moonlight, and humidity control chart 1920s or later Watch length: 24.1 cm Woodblock print, ink and (9 1/2 x in.); watch diameter: color on paper 4.5 cm (1 3/4 in.) 17.8 x 12.1 cm (7 x 4 3/4 in.) Gift of the Artist, 1997.44 Gift of Sarah G. Epstein (OC 1948), 1997.415 Prints Ito Sozan, Aoyama Seiji, Attributed to Claude Gillot, Japanese, 1884-? Japanese, 1893-1969 Eugene Delacroix, French, 1673-1722 Peacock, 1920s or later Fisherman by a Reedbank, French, 1798-1863 Reunion de Diables et de Woodblock print, ink and 1950s Portrait of a Young Man, Sorciers, ca. 1700-1710 color on paper Woodblock print, ink 1820s Etching 38.4 x 17.1 cm on paper Lithograph 24.8 x 33.7 cm (15 1/8x6 3/4 in.) 31.1 x 43.2 cm (12 1/4 x 17 in.) 30.2 x 26.4 cm (13 1/4x9 3/4 in.) Gift of Sarah G. Epstein Gift of Sarah G. Epstein (11 7/8 x 10 3/8 in.) Richard Lee Ripin Fund, (OC 1948), 1997.41.6 (OC 1948), 1997.41.1 Richard Lee Ripin Fund, 1997.33 1997.25 Japanese; Unidentified Stefano della Bella, Grace Hartigan, Crane in Snowy Tree, n.d. Italian, 1610-1664 American, b. 1922 Woodblock print, ink Chargement d'une Galerie de The Archaics, from Eyes on paper TOrdre de St. Etienne, from Blue and Cold, 1962-66 18.4 x 12.4 cm Vues du Port de Livoume, Lithograph (71/4x4 7/8 in.) ca. 1654-55 40 x 35.2 cm Gift of Sarah G. Epstein Etching (15 3/4 x 13 7/8 in.) (OC 1948), 1997.41.67 24.6 x 35.5 cm Ruth Roush Fund for (9 11/16 x 14 in.) Contemporary Art, 1998.5 Richard Lee Ripin Fund, 1997-35 85 Kasamatsu Shiro, Kasamatsu Shiro, Kawano Kaoru, Kawase Hasui, Japanese, b. 1898 Japanese, b. 1898 Japanese, 1916-1965 Japanese, 1883-1957 Spring Snow, 1955 Flute Divinity, 1962 Girl Holding a Fan, Shinagawa, Woodblock print, ink Woodblock print, ink i95os-early 1960s originally printed 1931 and color on paper and color on paper Woodblock print, ink Woodblock print, ink 39.7 x 27.6 cm 43.2 x 28.6 cm and color on paper and color on paper (15 5/8 x 10 7/8 in.) (17 x 111/4 in.) 42.5 x 27.9 cm 39.4 x 26.4 cm Gift of Sarah G. Epstein Gift of Sarah G. Epstein (16 3/4 x 11 in.) (15 1/2 x 10 3/8 in.) (OC 1948), 1997.41-7 (OC 1948), 1997.41.13 Gift of Sarah G. Epstein Gift of Sarah G. Epstein (OC 1948), 1997.41.16 (OC 1948), 1997.41.21 Kasamatsu Shiro, Kasamatsu Shiro, Japanese, b. 1898 Japanese, b. 1898 Kawano Kaoru, Kawase Hasui, Snowmelt, 1957 Gathering Around a Fire Japanese, 1916-1965 Japanese, 1883-1957 Woodblock print, ink (Dondo), n.d. Horse Pulling a Sled, Spring Moon, and color on paper Woodblock print, ink i950s-early 1960s originally printed 1932 42.2 x 27.3 cm and color on paper Woodblock print, ink Woodblock print, ink (16 5/8 x 10 3/4 in.) 40 x 27.6 cm and color on paper and color on paper Gift of Sarah G. Epstein (15 3/4 x 10 7/8 in.) 28.3 x 41.9 cm 40 x 26.4 cm (OC 1948), 1997.41.8 Gift of Sarah G. Epstein (11 1/8 x 16 1/2 in.) (15 3/4 x 10 3/8 in.) (OC 1948), 1997.41.14 Gift of Sarah G. Epstein Gift of Sarah G. Epstein Kasamatsu Shiro, (OC 1948), 1997.41.17 (OC 1948), 1997.41.22 Japanese, b. 1898 Katsushika Hokusai, Mountain Goats, 1958 Japanese, 1760-1849 Kawase Hasui, Kawase Hasui, Woodblock print, ink Snowy Morning at Japanese, 1883-1957 Japanese, 1883-1957 and color on paper Koishikawa (from the series Moon at Magome, Mt. Fuji from Yui, 42 x 28.6 cm Thirty-six Views ofMt. Fuji), originally printed 1930 originally printed 1934 (16 3/8 x 11 1/4 in.) 1830s Woodblock print, ink Woodblock print, ink Gift of Sarah G. Epstein Woodblock print, ink and and color on paper and color on paper (OC 1948), 1997.41-9 hand-coloring on paper 39.4 x 27.3 cm 39.4 x 26.7 cm 25.4 x 38.1 cm (10 x 15 in.) (15 1/2 x 10 3/4 in.) (15 1/2 x 10 1/2 in.) Kasamatsu Shiro, Gift of Sarah G. Epstein Gift of Sarah G. Epstein Gift of Sarah G. Epstein Japanese, b. 1898 (OC 1948), 1997.41.68 (OC 1948), 1997.41.18 (OC 1948), 1997.41.23 Farmwomen at Dawn, 1958 Woodblock print, ink After Katsushika Hokusai, Kawase Hasui, Kawase Hasui, and color on paper Japanese, 1760-1849 Japanese, 1883-1957 Japanese, 1883-1957 39.7 x 27.9 cm Sunset over Ryogoku Bridge Winter Moon, Kizaki Lake, Shinshu, (15 5/8 x 11 in.) (from the series Thirty-six originally printed 1930 originally printed 1941 Gift of Sarah G. Epstein Views ofMt. Fuji), 1830s Woodblock print, ink Woodblock print, ink (OC 1948), 1997.41.10 Woodblock print, ink and color on paper and color on paper and hand-coloring on paper 40 x 27 cm 27.6 x 39.7 cm Kasamatsu Shiro, 25.4 x 37.2 cm (15 3/4 x 10 5/8 in.) (10 7/8 x 15 5/8 in.) Japanese, b. 1898 (10 x 14 5/8 in.) Gift of Sarah G. Epstein Gift of Sarah G. Epstein Ashura, 1959 Gift of Sarah G. Epstein (OC 1948), 1997.41.19 (OC 1948), 1997.41.24 Woodblock print, ink (OC 1948), 1997.41.69 and color on paper Kawase Hasui, Kawase Hasui, 41.9 x 28.6 cm. Kawai Gyokudo, Japanese, 1883-1957 Japanese, 1883-1957 (16 1/2 x ii 1/4 in.) Japanese, 1873-1957 Honmonji Temple, Tokaido, Nissaka, Gift of Sarah G. Epstein Woman Beside a Blossoming originally printed 1931 originally printed 1942 (OC 1948), 1997.41.11 Tree, ca. 1895 Woodblock print, ink Woodblock print, ink Woodblock print, ink and color on paper and color on paper Kasamatsu Shiro, and color on paper 39.7 x 26.7 cm 26.4 x 39.4 cm Japanese, b. 1898 20.6 x 27.3 cm (15 5/8 x 10 1/2 in.) (10 3/8 x 15 1/2 in.) Sangatsudo, 1962 (8 1/8 x 10 3/4 in.) Gift of Sarah G. Epstein Gift of Sarah G. Epstein Woodblock print, ink Gift of Sarah G. Epstein (OC 1948), 1997.41.20 (OC 1948), 1997.41.25 and color on paper (OC 1948), 1997.41-15 42.2 x 28.9 cm (16 5/8 x 11 3/8 in.) Gift of Sarah G. Epstein (OC 1948), 1997.41.12

86 Kawase Hasui, Miyake Gogyo, Ohara Shoson, Judy Pfaff, Japanese, 1883-1957 Japanese, 1864-1919 Japanese, 1877-1945 English, b. 1946 Mt. Inari, Nagano, Bird in a Tree, ca. 1910 Cranes in Snow, n.d. La Cena, from the series originally printed 1947 Woodblock print, ink Woodblock print, ink Six in One, 1987 Woodblock print, ink and color on paper and color on paper Woodcut and color on paper 20.6 x 27.3 cm 39.1 x 26 cm 133.4 x 163.5 cm 27 x 39.4 cm (8 1/8 x 10 3/4 in.) (15 3/8 x 10 1/4 in.) (52 1/2 x 64 3/8 in.) (10 5/8 x 15 1/2 in.) Gift of Sarah G. Epstein Gift of Sarah G. Epstein Transferred from the Rental Gift of Sarah G. Epstein (OC 1948), 1997.4131 (OC 1948), 1997.41.36 Collection to the permanent (OC 1948), 1997.41.26 collection via Art Richard Mueller, Ohara Shoson, Museum Gift Fund, 1997.14 Kawase Hasui, Austrian, 1874-1930 Japanese, 1877-1945 Japanese, 1883-1957 Der Kunstler, 1915-16 Birds and Berries in Snow, Rembrandt Harmensz Snow at Saishoin Temple, Drypoint n.d. van Rijn, originally printed 1936 30.2 x 40 cm Woodblock print, ink Dutch, 1606-1669 Woodblock print, ink (11 7/8 x 15 3/4 in.) and color on paper The Circumcision, ca. 1626 and color on paper Charles F Olney Fund, 38.7 x 26.7 cm Etching 38.7 x 26.4 cm 1997.16 (15 1/4 x 10 1/2 in.) 21.4 x 16.8 cm (15 1/4 x 10 3/8 in.) Gift of Sarah G. Epstein (8 7/16 x 6 5/8 in.) Gift of Sarah G. Epstein Nagai Iku, (OC 1948), 1997.41.37 Wolfgang Stechow Print (OC 1948), 1997.41.27 Japanese, active 1950S-1960S Acquisition Fund, 1997.34 Woodsprite Playing a Flute, Ohara Shoson, Kiyohara Hitoshi, late I950s-early 1960s Japanese, 1877-1945 Japanese, 1896-1956 Woodblock print, ink and Plum Blossoms by Moonlight, Children Playing with Dog, color on paper n.d. 1950s 39.4 x 27.3 cm Woodblock print, ink Woodblock print, ink (15 1/2 x 10 3/4 in.) and color on paper and color on paper Gift of Sarah G. Epstein 39.1 x 26 cm 26.7 x 40 cm (OC 1948), 1997.41.32 (15 3/8 x 10 1/4 in.) (10 1/2 x 15 3/4 in.) Gift of Sarah G. Epstein Gift of Sarah G. Epstein Ohara Shoson, (OC 1948), 1997.41.38 (OC 1948), 1997.41.28 Japanese, 1877-1945 Ducks, Okada Koichi, Kiyohara Hitoshi, originally printed in 1931 Japanese, b. 1907 Japanese, 1896-1956 Woodblock print, ink Waterfall, 1952 Children Catching Fireflies, and color on paper Woodblock print, ink 1950s 38.7 x 26 cm and color on paper Woodblock print, ink (15 1/4 x 10 1/4 in.) 40 x 27 cm and color on paper Gift of Sarah G. Epstein (15 3/4 x 10 5/8 in.) Saito Kiyoshi, 27 x 39.4 cm (OC 1948), 1997.41.33 Gift of Sarah G. Epstein Japanese, b. 1907 (10 5/8 x 15 1/2 in.) (OC 1948), 1997.41.39 Village Scene with Skiers Gift of Sarah G. Epstein Ohara Shoson, (from the series (OC 1948), 1997.41.29 Japanese, 1877-1945 Okada Koichi, Winter in Aizu), n.d. Fish and Waterweeds, n.d. Japanese, b. 1907 Woodblock print, ink Kiyohara Hitoshi, Woodblock print, ink Trout Fishing, 1956 and color on paper Japanese, 1896-1956 and color on paper Woodblock print, ink 28.9 x 41.6 cm Children Buying Goldfish, 38.7 x 26 cm and color on paper (11 3/8 x 16 3/8 in.) 1950s (15 1/4 x 10 1/4 in.) 40.6 x 27 cm Gift of Sarah G. Epstein Woodblock print, ink Gift of Sarah G. Epstein (16 x 10 5/8 in.) (OC 1948), 1997.41.42 and color on paper (OC 1948), 1997.41.34 Gift of Sarah G. Epstein 26.7 x 40 cm (OC 1948), 1997.41.40 (10 1/2 x 15 3/4 in.) Ohara Shoson, Gift of Sarah G. Epstein Japanese, 1877-1945 Okumura Koichi, (OC 1948), 1997.41.30 Cranes in Moonlight, n.d. Japanese, 1904-1974 Woodblock print, ink Autumn Scenery, 1948 and color on paper Woodblock print, ink 39.4 x 26 cm and color on paper (15 1/2 x 10 1/4 in.) 26.7 x 39.4 cm Gift of Sarah G. Epstein (10 1/2 x 15 1/2 in.) (OC 1948), 1997.41-35 Gift of Sarah G. Epstein (OC 1948), 1997.41.41

87 Saito Kiyoshi, Takahashi Hiroaki, Takahashi Hiroaki, Attributed to Japanese, b. 1907 Japanese, 1871-1945 Japanese, 1871-1945 Torii Kiyonaga, Village Scene with Woman Four Crows on a Branch, Mt. Fuji from Mizukuno, Japanese, 1752-1815 Carrying Baskets (from the ca. 1920S-30S ca. 1920S-30S Four Beauties by a Temple series Winter in Aizu), n.d. Woodblock print, ink Woodblock print, ink Gate, 1780s Woodblock print, ink and and color on paper and color on paper Woodblock print, ink color on paper 12.4 x 18.4 cm 26.7 x 39.7 cm and color on paper 28.9 x 41.6 cm (4 7/8 x 7 1/4 in.) (10 1/2 x 15 5/8 in.) 36.8 x 24.1 cm (11 3/8 x 16 3/8 in.) Gift of Sarah G. Epstein Gift of Sarah G. Epstein (14 1/2x91/2 in.) Gift of Sarah G. Epstein (OC 1948), 1997.41.46 (OC 1948), 1997.41.51 Gift of Sarah G. Epstein (OC 1948), 1997.41.43 (OC 1948), 1997.41.71 Takahashi Hiroaki, Tamura Soritsu, Japanese, 1871-1945 Japanese, 1846-1918 Tsuchiya Koitsu, Woman with Umbrella, Hotei with Seven Children, Japanese, 1870-1949 ca. 1920S-30S ca. 1910 Akashi Beach, Woodblock print, ink Woodblock print, ink originally published 1934 and color on paper and color on paper Woodblock print, ink 39.1 x 17.8 cm 21 x 27.3 cm and color on paper (15 3/8 x 7 in.) (8 1/4 x 10 3/4 in.) 39.4 x 27 cm Gift of Sarah G. Epstein Gift of Sarah G. Epstein (15 1/2 x 10 5/8 in.) (OC 1948), 1997.41.47 (OC 1948), 1997.41.52 Gift of Sarah G. Epstein (OC 1948), 1997.41.55 Takahashi Hiroaki, Tekiho?, Jeanette Pasin Sloan, Japanese, 1871-1945 Japanese, active 20th century Tsukioka Yoshitoshi, American, b. 1946 Woman Carrying a Lantern, River Landscape, n.d. Japanese, 1839-1892 Espresso, 1995 ca. 1920S-30S Woodblock print, Little Prince Usu (from Color lithograph Woodblock print, ink ink on paper the series One Hundred 35.7 x 36.5 cm and color on paper 43.2 x 28.6 cm Aspects of the Moon), 1886 (14 1/16 x 14 3/8 in.) 38.7 x 17.8 cm (17 x 11 1/4 in.) Woodblock print, ink Gift of Lauretta M. Dennis, (15 1/4x7 in.) Gift of Sarah G. Epstein and color on paper I997-40.I Gift of Sarah G. Epstein (OC 1948), 1997.41.53 34.3 x 24.1 cm (OC 1948), 1997.41.48 (13 1/2x91/2 in.) Joel Stewart, Tekiho?, Gift of Sarah G. Epstein American, b. 1959 Takahashi Hiroaki, Japanese, active 20th century (OC 1948), 1997.41.72 Rekishi (History), 1996 Japanese, 1871-1945 Bamboo and Sailboat, n.d. Color etching Figures Dancing by Woodblock print, Tsukioka Yoshitoshi, 87.6 x 69.2 cm Moonlight, ca. 1920S-30S ink on paper Japanese, 1839-1892 (34 1/2 x 27 1/4 in.) Woodblock print, ink 43.2 x 28.6 cm Minamoto Raicho (from Gift of the artist, 1997.17 and color on paper (17 x 111/4 in.) the series Yoshitoshi's 38.4 x 16.8 cm Gift of Sarah G. Epstein Courageous Warriors), Suzuki Shonen, (15 1/8x6 5/8 in.) (OC 1948), 1997.41.54 1883-86 Japanese, 1849-1918 Gift of Sarah G. Epstein Woodblock print, ink Butterflies, ca. 1910 (OC 1948), 1997.41.49 Attributed to and color on paper Woodblock print, ink Torii Kiyomasu II, 36.5 x 24.1 cm and color on paper Takahashi Hiroaki, Japanese, 1706-1763 (14 3/8 x 9 1/2 in.) 20.7 x 27.3 cm Japanese, 1871-1945 Samurai and Geisha in a Gift of Sarah G. Epstein (8 1/8 x 10 3/4 in.) Traveler in Snowy Teahouse, 1720S-1730S (OC 1948), 1997.41.73 Gift of Sarah G. Epstein Mountains, ca. 1920S-30S Woodblock print, ink and (OC 1948), 1997.41.44 Woodblock print, ink hand-coloring on paper Utagawa Hiroshige I, and color on paper 20.3 x 31.1 cm Japanese, 1797-1858 Takahashi Hiroaki, 38.7 x 17.5 cm (8 x 15 1/4 in.) Miura Peninsula (from Japanese, 1871-1945 (15 1/4x6 7/8 in.) Gift of Sarah G. Epstein the series Thirty-six Views Boats on a Snowy River, Gift of Sarah G. Epstein (OC 1948), 1997.41.70 ofMt. Fuji), 1858 ca. 1920S-30S (OC 1948), 1997.41.50 Woodblock print, ink Woodblock print, ink and color on paper and color on paper 36.5 x 25.4 cm 19 x 13 cm (14 3/8 x 10 in.) (71/2x5 1/8 in.) Gift of Sarah G. Epstein Gift of Sarah G. Epstein (OC 1948), 1997.41.74 (OC 1948), 1997.41.45

88 Utagawa Hiroshige I, After Utagawa Hiroshige I, After Utagawa Kuniyoshi, Jacques Villon, Japanese, 1797-1858 Japanese, 1797-1858 Japanese, 1797-1861 French, 1875-1963 Seven-ri Ferry in Sagama Rain at Shono (from the The Sacred Mantram Appears Le Petit Equilibriste, 1914 Province (from the Hoeido series Fifty-three to Nichiren in the Waves Off Drypoint series Thirty-six Views Stations of the Tokaido Road), Sumida (from the series A 22 x 15.9 cm ofMt. Fuji), 1858 originally printed Short Pictorial Biography of (8 11A6 x 6 1/4 in.) Woodblock print, ink ca. 1833 the Founder of the Nichiren Gift of Pamela and James and color on paper Woodblock print, ink Sect), originally published Elesh, 1997.36.2 36.5 x 24.4 cm and color on paper mid 1830s (14 3/8 x 9 5/8 in.) 24.4 x 37.8 cm Woodblock print, ink Gift of Sarah G. Epstein (9 5/8 x 14 7/8 in.) and color on paper (OC 1948), 1997-41-75 Gift of Sarah G. Epstein 25.7 x 36.2 cm (OC 1948), 1997.41.79 (10 1/8 x 14 1/4 in.) Utagawa Hiroshige I, Gift of Sarah G. Epstein Japanese, 1797-1858 After Utagawa Hiroshige I, (OC 1948), 1997.41.83 Traveling by Moonlight (from Japanese, 1797-1858 the series Famous Places in Evening Snow on Mt. Hira After Utagawa Kuniyoshi, the Eastern Capital), late (from the series Eight Views Japanese, 1797-1861 1830s of Lake Biwa), Nichiren Prays for Rain at the Woodblock print, ink originally printed early 1830s Promontory of Ryozangasaki and color on paper Woodblock print, ink in Kamakura (from the series 35.6 x 36.8 cm and color on paper A Short Pictorial Biography of (14 x 14 1/2 in.) 25.4 x 38.4 cm the Founder of the Nichiren Gift of Sarah G. Epstein (10 x 15 1/8 in.) Sect), originally published (OC 1948), 1997.41.76 Gift of Sarah G. Epstein mid 1830s (OC 1948), 1997.41.80 Woodblock print, ink After Utagawa Hiroshige I, and color on paper Japanese, 1797-1858 After Utagawa Hiroshige I, 25.7 x 36.2 cm Wada Sanzo, Evening Snow at Kambara Japanese, 1797-1858 (10 1/8 x 14 1/4 in.) Japanese, 1916-1965 (from the Hoeido series Evening Rain at Atake Gift of Sarah G. Epstein Village in Korea, 1950s Fifty-three Stations of the Ohashi Bridge (from the (OC 1948), 1997.41.84 Woodblock print, ink Tokaido Road), series One Hundred Views and color on paper originally printed ca. 1833 of Famous Places in Edo), After Utagawa Kuniyoshi, 27 x 38.7 cm Woodblock print, ink originally printed 1857 Japanese, 1797-1861 (10 5/8 x 15 1/4 in.) and color on paper Woodblock print, ink and Nichiren Trudges through the Gift of Sarah G. Epstein 24.8 x 36.5 cm color on paper Snow at Tsukahara on Sado (OC 1948), 1997.41.56 (9 3/4 x 14 3/8 in.) 36.8 x 24.4 cm Island (from the series A Gift of Sarah G. Epstein (14 1/2x9 5/8 in.) Short Pictorial Biography of Wada Sanzo, (OC 1948), 1997.41.77 Gift of Sarah G. Epstein the Founder of the Nichiren Japanese, 1916-1965 (OC 1948), 1997.41.81 Sect), originally published Soldier Addressing a Crowd, After Utagawa Hiroshige I, mid 1830s 1950s Japanese, 1797-1858 Utagawa Kunisada I, also Woodblock print, ink Woodblock print, ink Hamamatsu (from the called Toyokuni I, and color on paper and color on paper Hoeido series Fifty-three Japanese, 1786-1864 25.7 x 36.5 cm 28.3 x 40 cm Stations of the Tokaido Road), Samurai and Woman Beside a (10 1/8 x 14 3/8 in) (111/8 x 15 3/4 in.) originally printed River (no. 26 from the series Gift of Sarah G. Epstein Gift of Sarah G. Epstein ca. 1833 Sono sugata yukari no (OC 1948), 1997.41.85 (OC 1948), 1997.41.57 Woodblock print, ink utsushie), ca. 1847-52 and color on paper Woodblock print, ink Jacques Villon, Wada Sanzo, 24.1 x 36.2 cm and color on paper French, 1875-1963 Japanese, 1916-1965 (9 1/2 x 14 1/4 in.) 25.7 x 37.5 cm Le Petit Atelier de Mecanique, The Fortuneteller, 1950s Gift of Sarah G. Epstein (10 1/8 x 14 3/4 in.) 1914 Woodblock print, ink (OC 1948), 1997.41.78 Gift of Sarah G. Epstein Etching and color on paper (OC 1948), 1997.41.82 15.4 x 19.3 cm 28 x 40 cm (6 1/16 x 7 5/8 in.) (11 x 15 3/4 in.) Gift of Pamela and James Gift of Sarah G. Epstein Elesh, 1997.36.1 (OC 1948), 1997.41.58

89 Kara Elizabeth Walker, Yoshida Hiroshi, Yoshida Hiroshi, Yoshida Hiroshi, American, b. 1969 Japanese,1876-1950 Japanese, 1876-1950 Japanese, 1876-1950 Do just so..., 1997 Glittering Sea, 1926 Fujiamifrom Funatsu, 1928 A Little Temple Gate, 1933 Etching on chine colle Woodblock print, ink Woodblock print, ink Woodblock print, ink 16.5 x 15.6 cm and color on paper and color on paper and color on paper (6 1/2 x 6 1/8 in.) 37.2 x 24.5 cm 37.5 x 25.1 cm 37.5 x 24.5 cm Oberlin Friends of Art (14 5/8 x 9 5/8 in.) (14 3/4 x 9 7/8 in.) (14 3/4 x 9 5/8 in.) Fund, 1998.6 Gift of Margaret and Gift of Margaret and Gift of Margaret and Owen Jones, 1997.22.3 Owen Jones, 1997.22.7 Owen Jones, 1997.22.13 William T. Wiley, American, b. 1937 Yoshida Hiroshi, Yoshida Hiroshi, DENEB, 1996 Japanese, 1876-1950 Japanese, 1876-1950 Color lithograph Shinobazo Pond, 1928 Maruyama Park in Kyoto, 63.5 x 46.04 in. Woodblock print, ink 1933 (25 x 18 1/8 in.) and color on paper Woodblock print, ink Gift of Lauretta M. Dennis, 37.8 x 24.6 cm and color on paper 1997.40.2 (14 7/8 x 9 11/16 in.) 24.8 x 37.8 cm Gift of Margaret and (9 3/4 x 14 7/8 in.) Yoshida Hiroshi, Owen Jones, 1997.22.8 Gift of Margaret and Japanese, 1876-1950 Owen Jones, 1997.22.14 The Horses Turn Back at Yoshida Hiroshi, Umagayshi, 1922 Japanese, 1876-1950 Yoshida Hiroshi, Woodblock print, ink Kagurazaka Dori, 1929 Japanese, 1876-1950 and color on paper Woodblock print, ink Kamogawa in Kyoto, 1933 37.5 x 24.8 cm and color on paper Woodblock print, ink (14 3/4 x 9 3/4 in.) 37.5 x 24.5 cm and color on paper Gift of Margaret and (14 3/4 x 9 5/8 in.) 24.2 x 37.8 cm Owen Jones, 1997.22.1 Gift of Margaret and (9 3/4 x 14 7/8 in.) Yoshida Hiroshi, Owen Jones, 1997.22.9 Gift of Margaret and Yoshida Hiroshi, Japanese, 1876-1950 Owen Jones, 1997.22.15 Japanese, 1876-1950 Himeji Castle-Morning, 1926 Yoshida Hiroshi, Otenjo, 1926 Woodblock print, ink Japanese, 1876-1950 Yoshida Hiroshi, Woodblock print, ink and color on paper Edo Castle, 1929 Japanese, 1876-1950 and color on paper 36.8 x 24.5 cm Woodblock print, ink Small Town in Chugoku, 1933 25-4 x 37-5 cm (14 x 9 5/8 in.) and color on paper Woodblock print, ink (10 x 14 3/4 in.) Gift of Margaret and 24.8 x 37.8 cm and color on paper Gift of Margaret and Owen Jones, 1997.22.4 (9 3/4 x 14 7/8 in.) 24.5 x 37.3 cm Owen Jones, 1997.22.2 Gift of Margaret and (9 5/8 x 14 11/16 in.) Yoshida Hiroshi, Owen Jones, 1997.22.10 Gift of Margaret and Japanese, 1876-1950 Owen Jones, 1997.22.16 Unzendake, 1927 Yoshida Hiroshi, Woodblock print, ink Japanese, 1876-1950 Yoshida Hiroshi, and color on paper Konoshima, 1930 Japanese, 1876-1950 25.1 x 37.8 cm Woodblock print, ink The Cherry Tree in Kawagae, (9 7/8 x 14 7/8 in.) and color on paper 1935 Gift of Margaret and 24.8 x 37.8 cm Woodblock print, ink Owen Jones, 1997.22.5 (9 3/4 x 14 7/8 in.) and color on paper Gift of Margaret and 37.8 x 24.8 cm Yoshida Hiroshi, Owen Jones, 1997.22.11 (14 7/8 x 9 3/4 cm) Japanese,1876-1950 Gift of Margaret and In a Mountain Shelter, 1927 Yoshida Hiroshi, Owen Jones, 1997.22.17 Woodblock print, ink Japanese, 1876-1950 and color on paper Harbor ofTomonousa, 1930 24.9 x 37.8 cm Woodblock print, ink (9 13/16 x 14 7/8 in.) and color on paper Gift of Margaret and 24.5 x 37.2 cm Owen Jones, 1997.22.6 (9 5/8 x 14 5/8 in.) Gift of Margaret and Owen Jones, 1997.22.12

90 Yoshida Hiroshi, Yoshida Hiroshi, Yoshida Hiroshi, Yoshida Toshi, Japanese, 1876-1950 Japanese, 1876-1950 Japanese, 1876-1950 Japanese, 1911-1995 Yashaka Shrine, 1935 Sacred Bridge, 1937 Konoshima, Pagoda in Kyoto, 1942 Woodblock print, ink Woodblock print, ink originally printed 1930 Woodblock print, ink and color on paper and color on paper Woodblock print, ink and color on paper 37.8 x 24.5 cm 25.1 x 38.1 cm and color on paper 26.7 x 20.3 cm (14 7/8 x 9 5/8 in.) (9 7/8 x 15 in.) 27.3 x 40 cm (10 1/2x8 in.) Gift of Margaret and Gift of Margaret and (10 3/4 x 15 3/4 in.) Gift of Sarah G. Epstein Owen Jones, 1997.22.18 Owen Jones, 1997.22.24 Gift of Sarah G. Epstein (OC 1948), 1997.41.65 (OC 1948), 1997.41.60 Yoshida Hiroshi, Yoshida Hiroshi, Yoshida Toshi, Japanese, 1876-1950 Japanese,1876-1950 Yoshida Hiroshi, Japanese, 1911-1995 Plum Gateway, 1935 Way to the Kasuga Shrine, Japanese, 1876-1950 Tenryu River, 1942 Woodblock print, ink 1938 Three Little Islands, Woodblock print, ink and color on paper Woodblock print, ink originally printed 1930 and color on paper 37.8 x 25.1 cm and color on paper Woodblock print, ink 27.62 x 20.3 cm (14 7/8 x 9 7/8 in.) 37.8 x 24.8 cm and color on paper (10 7/8 x 8 in.) Gift of Margaret and (14 7/8 x 9 3/4 in.) 27 x 40 cm Gift of Sarah G. Epstein Owen Jones, 1997.22.19 Gift of Margaret and (10 5/8 x 15 3/4 in.) (OC 1948), 1997.41.66 Owen Jones, 1997.22.25 Gift of Sarah G. Epstein Yoshida Hiroshi, (OC 1948), 1997.41.61 Japanese, 1876-1950 Yoshida Hiroshi, Photographs Fujiyama from Miho, 1935 Japanese, 1876-1950 Yoshida Hiroshi, Woodblock print, ink Bamboo Wood, 1939 Japanese, 1876-1950 Gustave de Beaucorps, and color on paper Woodblock print, ink Hirasaka Castle, French, 1825-1906 23 x 37.8 cm and color on paper originally printed 1935 Harem Slave, Algeria, (9 1/16 x 14 7/8 in.) 37.3 x 25.1 cm Woodblock print, ink ca. i860 Gift of Margaret and (14 11/16 x 9 7/8 in.) and color on paper Albumen print from wet Owen Jones, 1997.22.20 Gift of Margaret and 40.3 x 26.7 cm collodion negative Owen Jones, 1997.22.26 (15 7/8 x 10 1/2 in.) 21.9 x 16.9 cm Yoshida Hiroshi, Gift of Sarah G. Epstein (8 5/8 x 6 5/8 in.) Japanese, 1876-1950 Yoshida Hiroshi, (OC 1948), 1997.41.62 Young-Hunter Art Museum Suzukawa, 1935 Japanese, 1876-1950 Acquisition Fund, 1997.26 Woodblock print, ink Farm House, 1941 Yoshida Hiroshi, and color on paper Woodblock print, ink Japanese, 1876-1950 Bill Brandt, 24.5 x 37.8 cm and color on paper Toshogu Shrine, English, 1904-1983 (9 5/8 x 14 7/8 in.) 24.6 x 37.5 cm originally printed 1937 Untitled Nude Gift of Margaret and (9 n/16 x 14 3/4 in.) Woodblock print, ink (with Mirror), 1953 Owen Jones, 1997.22.21 Gift of Margaret and and color on paper Gelatin silver print Owen Jones, 1997.22.27 40.6 x 27.3 cm 34.3 x 29.2 cm Yoshida Hiroshi, (16 x 10 3/4 in.) (13 1/2 x 11 1/2 in.) Japanese, 1876-1950 Yoshida Hiroshi, Gift of Sarah G. Epstein Young-Hunter Art Museum Ikenohata, 1935 Japanese, 1876-1950 (OC 1948), 1997.41.63 Acquisition Fund, 1997.21 Woodblock print, ink Evening after Rain, and color on paper originally printed 1925 Yoshida Hodaka, 24.8 x 37.5 cm Woodblock print, ink Japanese, b. 1926 (9 3/4 x 14 3/4 in.) and color on paper Landscape, 1951 Gift of Margaret and 27.3 x 40 cm Woodblock print, ink Owen Jones, 1997.22.22 (10 3/4 x 15 3/4 in.) and color on paper Gift of Sarah G. Epstein 19.7 x 25 cm Yoshida Hiroshi, (OC 1948), i997-4J-59 (7 3/4 x 9 7/8 in.) Japanese, 1876-1950 Gift of Sarah G. Epstein Cryptomania Avenue, 1937 (OC 1948), 1997.41.64 Woodblock print, ink and color on paper 37.8 x 24.8 cm (14 7/8 x 9 3/4 in.) Gift of Margaret and Owen Jones, 1997.22.23

91 Horace Bristol, Kusakabe Kimbei, Turkoman; Yomud Pre-Columbian American, 1908-1998 Japanese, 1841-1934 Tent (yurt), Nomadic Pole Vitus Molded Bridge-Spouted Phrenologist Studies Client's Samurai Warrior, 1880s Cover, ca. 1890 Vessel, ca. 100-500 Head, Tokyo, 1947 Hand-colored albumen print Wool Blackware Gelatin silver print 26 x 19.8 cm 54 x 62.9 cm Height: 19.1 cm (7 1/2 in.); 5.7 x5.7 cm (10 1/4x7 13/16 in.) (21 1/4 x 24 3/4 in.) width: 12.1 cm (4 3/4 in.); (21/4x2 1/4 in.) Charles F Olney Fund, Gift of Ernest H. Roberts, depth: 20.3 cm (8 in.) Young-Hunter Art Museum 1998.4 1997-43-3 Gift in honor of Hannah Acquisition Fund, 1997.20 M. Richman (OC 1995) by Dorothea Lange, Native American, her parents, Hershel Peter Henry Emerson, American, 1895-1965 Hopi and Dr. Elizabeth Richman, English, 1856-1936 Unemployed, Howard Street, Blanket (rug), ca. 1885 1997-39-5 During the Reed Harvest, San Francisco, February 1939, Wool from Life and Landscape on 1939 208.3 x 105.4 cm Pre-Columbian, Mochica IV the Norfolk Broads (plate 28), Gelatin silver print (82 x 411/2 in.) Molded Ewer-form Vessel with 1887 18.1 x 19.7 cm Gift of Ernest H. Roberts, Applied Frogs, Platinum print (71/8x7 3/4 in.) 1997-43-4 ca. 500-700 21.5 x 28.9 cm Young-Hunter Art Museum Glazed pottery (8 7/16 x 11 3/8 in.) Acquisition Fund, 1997.19 Height: 23.2 cm (9 1/8 in.); Young-Hunter Art Museum Ceramics width: 14 cm (5 1/2 in.); Acquisition Fund, 1997.27 Maurice Tabard, depth: 17.5 cm (6 7/8 in.) French, 1897-1984 Burmese Gift in honor of Hannah Francis Frith, Shadow Self-Portrait Blue-Green Decorated M. Richman (OC 1995) by English, 1822-1898 with Man Pointing, 1930s Stoneware Charger, her parents, Hershel The Second Pyramid, Vintage silver print, 16th century and Dr. Elizabeth Richman, from the South-East, 1858 solarized Glazed stoneware 1997-39-6 Albumen print from wet 18.1 x 13.7 cm Height: 5.7 cm (2 1/4 in.); collodion negative (71/8x5 3/8 in.) diameter: 29.8 cm (11 3/4 in.) Pre-Columbian, Mochica IV 38.2 x 48.5 cm Oberlin Friends of Art Gift in honor of Hannah Molded Vessel with Warrior- (15 1/16 x 19 1/8 in) Fund, 1997.28 M. Richman (OC 1995) by shaped Finial and Stirrup Oberlin Friends of Art her parents, Hershel Handle, ca. 500-700 Fund, 1998.3 Brett Weston, and Dr. Elizabeth Richman, Glazed pottery American, b. 1911 1997.39.9 Height: 21.2 cm (8 3/4 in.); Bronx Botanical Gardens, width: 13.7 cm (5 3/8 in.); 1944 Chimu/Inca depth: 18.8 cm (7 3/8 in.) Vintage gelatin silver print Molded Double-Chambered Gift in honor of Hannah 19.4 x 24.3 cm Vessel with Feline-shaped M. Richman (OC 1995) by (7 5/8 x 9 9/16 in.) Finial, ca. 1000-1200 her parents, Hershel Young-Hunter Art Museum Glazed pottery and Dr. Elizabeth Richman, Acquisition Fund, 1997.18 Height: 16.5 cm (6 1/2 in.); 1997.39.7 width: 9.5 cm (3 3/4 in.); depth: 19 cm (7 1/2 in.) Thai, Si Satchanalai Textiles Gift in honor of Hannah (Sawankholok) M. Richman (OC 1995) by Blue and White Covered Box, Turkoman; Yomud her parents, Hershel i4th-i6th century Large Storage Carpet Bag, ca. and Dr. Elizabeth Richman, Glazed stoneware Barry P. Gollop, i860 1997.39.8 Height: 6.7 cm (2 5/8 in.); American, b. 1955 Wool diameter: 10.1 cm (4 in.) Rezso, Tibor + Akos, Lake 73 x 103.5 cm Pre-Columbian, Mochica IV Gift in honor of Hannah Balaton, Hungary, 1994 (28 3/4 x 40 3/4 in.) Molded Stirrup Vessel, M. Richman (OC 1995) by Gelatin silver print Gift of Ernest H. Roberts, ca. 500-700 her parents, Hershel 15.4 x 22.2 cm I997-43-I Glazed pottery and Dr. Elizabeth Richman, (6 1/16 x 8 3/4 in.) Height: 21 cm (8 1/4 in.); I997-39-3A-B Ruth Roush Fund for Persian; Shiraz diameter: 13.7 cm (5 3/8 in.) Contemporary Art, 1997.31 Grain Storage Bag, ca. 1900 Gift in honor of Hannah Wool M. Richman (OC 1995) by 61 x 33 cm (24 x 13 in.) her parents, Hershel Gift of Ernest H. Roberts, and Dr. Elizabeth Richman, 1997.43.2 I997-39-4

92 Vietnamese Loans 5. Filippino Lippi, The 4. Hendrick ter Brugghen, Blue and White Vase, Fiscal Year 1996-97 Lamentation of Christ at Saint Sebastian Tended by I4th-i5th century the Tomb, ca. 1500, pen Irene, 1625, oil on canvas, Glazed ceramic and ink with brown wash R.T.Miller,Jr. Fund, Height: 25.4 cm (10 in.); 1. Boardman Robinson, and white heightening, R. 53.256. diameter 14 cm (5 1/2 in.) He Put the Lid On and the T. Miler, Jr. Fund, 54.64. To: "Masters of Light: Gift in honor of Hannah Bottom Fell Out, 1920, lith­ To: "The Drawings of Dutch Painting in Utrecht M. Richman (OC 1995) by ographic crayon height­ Filippino Lippi and His During the Golden Age," her parents, Hershel ened with white, Gift of Circle," Metropolitan M. H. De Young and Dr. Elizabeth Richman, Mrs. Malcolm L. Museum of Art, New Memorial Museum, San 1997.39.1 McBride, 48.67. York, October 27,1996- Francisco, September 9- To: "Boardman Robinson January n, 1997. November 30,1997; The Retrospective," Colorado Walters Art Gallery, Springs Fine Art Center, Baltimore, January 11- Colorado Springs, Loans April 5,1998; The September 20,1996- Fiscal Year 1997-98 National Gallery, London, January 12,1997. May 6-August 2,1998.

2. Domenico Tiepolo, r. Joseph Beuys, Suit of 5. Sarah Charlesworth, Punchinello and the Clothes, 1970, industrial Unidentified Man, Otani Ostriches, 1790s, ink and felt, Fund for Hotel, Los Angeles, 1980, brown wash over black Contemporary Art, 72.48. black and white photo- chalk, R.T.Miller, Jr. To: "Jana Sterbak," David mural, R. T Miller, Jr. Fund, 55.7. Winton Bell Gallery, Fund, 83.41. To: "Domenico Tiepolo, Brown University, To: "Sarah Charlesworth: Master Draftman," The Providence, Rhode Island, A Retrospective," SITE Municipal Museums of August 23-October 31, Sante Fe, Santa Fe, New Udine, Italy, September T997- Mexico, November 1, 14-November 24,1996; 1997-January 25,1998; Indiana University Art 2. Pu Xuezhai, Emaciated Museum of Vietnamese, Thanh-Hoa Museum, Bloomington, Horse, ca. 1931-32, ink on Contemporary Art, San White Glazed Stoneware January 15,1997-March 9, paper, Charles F Olney Diego, March 23-June 13, Bowl, 14th century 1997. Fund, 94.2. 1998; National Museum of Glazed stoneware To: "Power and Virtue: Women in the Arts, Height: 8.9 cm (3 1/2 in.); 3. Hendrick ter Brugghen, Images of Horses in Washington, D. C, July diameter: 15.2 cm (6 in.) Saint Sebastian Tended by Chinese Art," China 9-September 23,1998; Gift in honor of Hannah Irene, 1625, oil on canvas, Institute Gallery, New Cleveland Center for M. Richman (OC 1995) by R.T.Miller,Jr. Fund, York, September 13- Contemporary Art, her parents, Hershel 53.256. December 13,1997. November 20,1998- and Dr. Elizabeth Richman, To: "Georges De La Tour January 24,1999. 1997.39.2 and His World: 3. Antoine Coypel, The Masterpieces In Focus," Finding of Moses, ca. 1696- 6. Gustave Courbet, Castle National Gallery of Art, 97, oil on canvas, ofChillon, Evening, ca. Washington, D.C., R.T.Miller,Jr. Fund and 1872, oil on canvas, R. T October 6,1996-January 1, Friends of Art Miller, Jr. Fund, 58.47. 1997; Kimbell Art Endowment Fund, 78.2. To: "Courbet Late Museum, Fort Worth, To: "Re-Presenting the Paintings," Salander- Texas, February i-May 10, Baroque," Samuel P. Harn O'Reilly Galleries, New 1997. Museum of Art, York, January 6-February University of Florida, 29,1998; Nassau County 4. Domenico Zampieri Gainesville, September 15, Museum of Art, Roslyn (Domenichino), Landscape 1997-May 11,1998. Harbor, New York, March with the Flight into Egypt, 8-May 24,1998. ca. 1605, oil on copper, Mrs. F F Prentiss Fund, 68.51. To: "Domenichino 1581- 1641," Museo del Palazzo Venezia, Rome, October 18,1996-January 26,1997.

93 7- Edgar Degas, Dancer at wool, Charles Martin Hall Caucasian (Eastern, Iranian/Persian (Baluchi), Rest, Hands on her Hips, Bequest, 15.4; Shirvan), Prayer Rug, Brocaded Rug, ca. 1890, Left Leg Forward, 1882-95, Iranian/Persian (West mid-late 19th century, Sumak-weave, wool, Gift bronze, R.T.Miller,Jr. Central, Arak District, wool and cotton, Charles of Ernest H. Roberts, Fund, 55.33. Feraghan), Carpet with Martin Hall Bequest, 85.26; To: "Edgar Degas and Long Central Medallion, 15.36; West Central Asian The Little Dancer," Joslyn late 19th century, cotton Caucasian (Central, (Tekke), Door Rug (Ensi), Art Museum, Omaha, warp and wool, Charles Daghestan), Prayer Rug, mid 19th century, wool, Nebraska, February 7-May Martin Hall Bequest, 15.5; mid-late 19th century, cot­ Gift of Ernest H. 3,1998; Sterling and Iranian/Persian (West ton and wool, Charles Roberts, 85.27; Francine Clark Institute, Central, Arak District, Martin Hall Bequest, West Central Asian Williamstown, Feraghan), Rug with I5-37; (Salor), Bag Face with Massachusetts, May 30- White-Ground Vase and Caucasian (South "Gul" Design, ca. i860, September 8,1998; The Medallion Design, late 19th Transcaucasia), Kazak wool, Gift of Ernest H. Baltimore Museum of century, cotton and wool, Carpet with Three Roberts, 86.24; Art, October 4,1998- Charles Martin Hall "Memling" Medallions, late West Central Asian January 3,1999. Bequest, 15.6; 19th century, wool, (Saryk), Rug with Multiple Iranian/Persian (Serab), Charles Martin Hall Niches, ca. 1900, wool, 8. Chuck Close, Study for Rug with Medallions, ca. Bequest, 15.39 Gift of Ernest H. Kent, 1970, watercolor and 1880, wool, Charles West Central Asian Roberts, 86.25; pencil on paper, Mrs. F. F. Martin Hall Bequest, (Tekke), Rug with "Gul" Iranian/Persian, Shiraz Large Saddle Bags, ca. Prentiss Fund, 71.36. 15-13; Design, ca. 1875, wool, To: "Chuck Close Iranian/Persian, Prayer Charles Martin Hall 1900, wool, Gift of Ernest Retrospective," The Rug with Garden Imagery, Bequest, 15.45; H. Roberts, 86.26; Museum of Modern Art, ca. 1875, silk, Charles Iranian/Persian (Heriz), Iranian/Persian (Baluchi), New York, February 25- Martin Hall Bequest, Rug with Persian Love Rug with Flock of Birds, ca. 1890, wool, Gift of Ernest May 26,1998. I5-I5; Poem, ca. 1875, silk, Gift of H. Roberts, 90.18.1; Turkish (Central, Ladik), Frederick Norton Finney, Turkish, Rug with Floral 9. Yayoi Kusama, Baby Prayer Rug, early 19th w; Patterns, ca. 1850, wool, Carriage, 1964 (repainted century, wool, Charles Caucasian (East Gift of Ernest H. 1966), baby carriage, cloth, Martin Hall Bequest, Transcaucasia), Sileh Roberts, 90.18.3; aluminum enamel paint, 15.16; Brocaded Cover, late 19th West Central Asian Gift of Mr. and Mrs. Turkish (Western or century, wool, Gift of (Saryk), Wide Bag, ca. Harry L. Tepper, 74.78. Southern Anatolian), Ernest H. Roberts in 1900, wool, silk and cot­ To: "Yayoi Kusama in Central Medallion Rug, honor of Dr. Wolfgang ton, Gift of Ernest H. New York, 1958-1968," Los dated 1287 A.H. (1870-71 Stechow, 75.163; Roberts, 90.18.4. Angeles County Museum A.D.), wool, Charles Turkish (Yoruk), Rug with To: "Treasures of Oriental of Art, March 8-June 8, Martin Hall Bequest, Tile Pattern, ca. 1875, wool, Rugs," Stocker Center 1998; Museum of Modern 15.21; Gift of Ernest H. Gallery, Lorain County Art, New York, July 9- Turkish, Kula Prayer Rug Roberts, 78.35; Community College, October 27,1998; Walker with Hanging Lamp, ca. Turkish, Kilim Prayer Rug, Lorain, Ohio, February Art Center, Minneapolis, 1825, wool, Charles Martin ca. 1875, cotton and wool, 27-March 29,1998. December 12,1998-March Hall Bequest, 15.29; Gift of Ernest H. 7,1999; Museum of Turkish (Milas), Prayer Roberts, 78.36; Contemporary Art, Rug with Diamond Design, Iranian/Persian (Sehna), 45. Rimer Cardillo, Silent Tokyo, April 29-July 4, mid 19th century, wool, Saddle Cover, ca. 1850, Barrack, 1989, mixed 1999. Charles Martin Hall cotton and wool, Gift of media, Gift of Cristina Bequest, 15.33; Ernest H. Roberts, 79.35; Delgado and Stephen F. 10-44. Iranian/Persian Caucasian Iranian/Persian (Baluchi), Olsen, 1995.14.1. (West Central, Arak (Transcaucasian, Shirvan), Gun Case, ca. 1890, wool, To: "Rimer Cardillo: District, Feraghan), Rug Floral Rug with Gift of Ernest H. Araucaria," The Bronx with White-Ground Lattice Medallions, dated 1290 Roberts, 79.36; Museum of the Arts, New Pattern, late 19th century, A.H. (1872 A.D.), wool, West Central Asian York, April i6-August 23, cotton and wool, Charles Charles Martin Hall (Yomud), Tent Band, ca. 1998. Martin Hall Bequest, 15.2; Bequest, 15.34; 1900, wool, Gift of Ernest Iranian/Persian (West Caucasian (Central, H. Roberts, 79.37; Central, Arak District, Daghestan), Prayer Rug, West Central Asian Feraghan), Rug with mid-late 19th century, cot­ (Yomud), Tent or Animal Overall Vase Pattern, late ton and wool, Charles Decoration, ca. 1900, wool, 19th century, cotton and Martin Hall Bequest, Gift of Ernest H. 15-35; Roberts, 79.38;

94 Staff Visiting Committee Publications Photographic Credits

Sharon F. Pattern, Robert P. Bergman Allen Memorial Art Museum Front Cover: John Seyfried John G W Cowles Director Parks Campbell Bulletin, Vols. I-LI, 1944-1998. Back Cover: Oberlin (from October 1998) (B.A., 1952; M.A., 1972) Some issues are out of print. College Archives

Marjorie E. Wieseman, Ralph T. Coe (B.A., I953) Indexes available through Stechow, "Old Testament" Acting Director (to October 1908) Joan Danforth Vol. XXX. figs. 1,11, Photo R. M. N.; fig. 2, and Curator of Western Art Cristina Delgado (B.A., 1979) Gemaldegalerie der Akademie before 1850 James Elesh (B.A., 1964) Catalogue of European and der bildende Kiinste, Vienna; Leslie Miller, Andre Emmerich (B.A., 1944) American Paintings fig. 3, Kunsthistorisches Assistant to the Director Allan Frumkin and Sculpture, Museum, Vienna; figs. 4, 6, 43, Beatrice M. Clapp, Richard Hunt Wolfgang Stechow, 1967, John Seyfried; figs. 5, 25, 37, The Administrative Assistant Robert M. Light 359 pp., 278 illus. Metropolitan Museum of Art, Amy Kurlander, (B.A., 1950), co-chairman New York; fig. 7, National Curator of Modern Jan Keene Muhlert Catalogue of Drawings Gallery, London; figs. 8, 9,17, 33, and Contemporary Art (M.A., 1967) and Watercolors, The British Museum; figs. 10, Charles Q^ Mason, Jane Nord Wolfgang Stechow, 1976, 30, The State Hermitage Curator of Asian Art Victoire Rankin 295 pp., 104 illus. Museum, St. Petersburg; figs. 12, Stephan F. F. Jost, (through June 1998) 13,15,19,35, Jorg P. Anders, Assistant Curator Reynold Sachs (B.A., 1961) From Studio to Studiolo: Berlin; figs. 14, 24, Mauritshuis of Western Art David Steadman Florentine Draftsmanship under Den Haag; fig. 16, Lucille Stiger, (through October 1998) the First Medici Grand Dukes, Szepmuveszeti Muzeum, Registrar John N. Stern (B.A., 1939) Larry J. Feinberg, 1991, Budapest; figs. 18, 32, 38, 40, Kimberlie Gumz Fixx, Evan H. Turner, 212 pp., 104 illus. Rijksmuseum-Stichting Assistant Registrar co-chairman (through June 1998) Amsterdam; fig. 20, Museum Jenny Squires Wilker, Robert Mangold: Boijmans van Beuningen, Publications Editor The Oberlin Window, Rotterdam; Megan Burness, Collection Committee Geoffrey Blodgett and fig. 21, B. P. Keiser, Coordinator of Education Elizabeth A. Brown, 1992, Braunschweig; fig. 22, (through August 1998) Sharon F. Patron, 31 pp., 20 illus. Tomaszeweska,Warsaw; fig. 23, Nathalie Ryan, John G. W Cowles Director Ursula Edelmann, Frankfurt; fig. Education Intern Marjorie E. Wieseman, Winged Evocations. A Kinetic 26, North Carolina Museum of (through i^ August 1998) Curator of Western Art before 1850 Installation &A Meditation on Art; Raleigh; fig. 27, Centraal Amanda Votaw, Amy Kurlander, Flight and Its Association with Museum, Utrecht, and Ernst Moritz, The Hague; fig. 28, Education Intern Curator of Modern Divinity, Albert Chong and Moscow, Pushkin Museum; (from 1 August 1998) and Contemporary Art Johnny Coleman, edited by fig. 29, The Barber Institute Michael Holubar, Charles Q^ Mason, Amy Kurlander, 1998, 32 pp., of Fine Arts, The University of Preparator Curator of Asian Art 15 illus., ISBN 0-942946-02-2. Birmingham; fig. 31, Courtauld Joseph Gargasz, William Hood, Institute of Art; fig. 34, Assistant Preparator Chair, Art Department Masterworks for Learning: A Ashmolean Museum, Oxford; Elsie E. Phillips, Patricia Mathews, College Collection Catalogue. figs. 36, 44, National Gallery of Housekeeper Associate Professor of Art CD-ROM, 1998, many illus., Scodand; fig. 39, Staatliche Linda Gilmore, John Pearson, video clips, database, Museen Kassel (Brunzel); fig. Security Supervisor Eva and John Young-Hunter ISBN 0-942946-03-0. 41, courtesy H. Schickman Gary Comstock, Professor of Studio Art Gallery, New York; fig. 42, Security Officer, p. t. Evan H. Turner, Bulletins, catalogues, and other Phototheque des Musees de la Christine Diewald, Director Emeritus, publications, as well as post­ Ville de Paris. Security Officer Cleveland Museum of Art cards, notecards, and slides of Color ills. pp. 55, 56, 60, The Timothy Diewald, (through June 1998) works in the collection are State Hermitage, St. Petersburg; Security Officer, p. t. available through the museum p. 57, Staatliche Museen Kassel Michael Gilbert, Members of the faculty of store, Uncommon Objects. (Brunzel); p. 58, Mauritshuis Security Officer Oberlin College's Department Call (440) 775-2086 for prices. Den Haag. Fran Moorman, of Art also act as advisors to Stechow, "Crisis" Security Officer, p. t. the Museum in their areas of Allen Memorial Art fig. 3, The Cleveland Museum expertise, and along with the Museum Bulletin of Art; fig. 4, Rijksmuseum- staff of the Clarence Ward Art Stichtung Amsterdam. Library, assist the Museum's Editors: work in many ways. Marjorie E. Wieseman Jenny Squires Wilker

The AMAM Bulletin welcomes Catalogue Design: scholarly contributions on topics Christopher Hoot pertinent to the Museum's HOOTDESIGN collection. Manuscripts submitted for publication should be sent to the Editor, accompanied by a list of illustrations and photocopies of the illustrations. 95 ^^^^^^^ • • • •• »'•^

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