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Rcmbrandt The Quest fOr ChiaroSCurO レンブラント Remb「andt 光の探求′間の誘惑 The Qoestio`Ch ao,cu lo 〔論文集〕 lEss8ys 2o12`13月 20日 発行 20 March 2012 Authors 蓄昔| エリ′クヒンテルデrン ク Elik lHinterding 保■JF弓 ハyumiヽ ●su Ft峙 移′ Ak hlo 02ak マーテrン ロイヤルトン・キッシエ Ma tin Royalon K sch u 11'HI平 Akira Koluヽ ンテン● ヘルト Bob van den Boosert ボブファ =一 ti黒 弘 H roshi Kumazawさ Ed ted byl 場集| ■福輝 Akh a Koluku ,い辛弘 rlIosh KurnazaWa 協力: Cooperated Ovi Theヽ Vestern Art bundation (1オ )西 洋美術lfF興 動団 吉lll石 古美術振興叫m Yoshino Gypsum Art Foundation iety oflnternationai Cultural Exchange 国際文化交換協会 The Soこ 印晟1朝 陽会 insatsu Choyokai Foundation 制作t P,oduced by: アイメ′クスフアインアート lmex F ne Art inc 0 2012 The Nalonal Museum ol Western A t Tokyo 発lT' Pubished Ovl Vestern Al:Tokyo 日立西洋美術館 The Nalona Museum orヽ u TokyoJapan lSBN 978 1 906536 61 0 東京吉F台 東に上野●図77 77 Ueno kOen Tatoヽ CONTENTS 191 レンブラント版画研究:過 去と現在の状況 165 1 Rel¬ bra llt pi nt stt diesl past and cur ent state of afFa rs エリックヒンテルディンク Elk HintetJ119 原版は語る 1 951 Plates that Speak:F「 om tne Su「 vey oi VVo「 ks 一レンブラントハイス所蔵寄託作品の調査から in the Renlbrandt louse Colect on ond On Depos t 保丼亜弓 Avum tts出 「画家版画家Jレ ンブラントの芸術的なllL戦 (10'I The Alt sic Chalenges of Rembrandt as Painte・ Plnin]ake「 尾1奇 彰宏 Ak hro Ozak 1 13 1 和紙を用いたレンブラント素措と弟子たちやその他の 1119 D aw ngs by Re nbrandiand D「 aw ngs and Eichi19s 芸術家たちによる素描及びIッ チング by 1l s Pupls and othe「 Altists on Japa lese Pape「 マーティンロイヤルトン・キッシュ ヽИ8「 []Rova ton Kisch 53 レンブラントの「東洋紙刷り版画Jと その受容について 1231 Renlbrandi s Pr lis on Asian Paper and ine「 Recept on 幸福輝 Akra Korukじ い5 レンフラントのキアロスクーロ: 1891 Rembrandi s chia「 oscJ,ol 革新か単なるカラウァッショの追随か inloval on oi s'olply(01o,v ng Carava9gio? ボラファンテンボーヘルト Bob van den Boogert 17=l「 レンフラントJで はなく「光琳J 1451 K6「 n 「ather than Ren,0「 andi ヽちf ots Aspects of И ]Jap8,ese Recept On of RembranOt 一日本近代におけるレンフラント受容の諸相 theヽ ode「 熊,翠 弘 H「oshi Kunlaz8、va The Art stic Cha‖ enges of Rembrandt as Painter Printmaker Akih ro Ozaki l lmages that Functlon as Still Lifesi Aesthetic Technology Rennbrandtゝ copperplate etchings reveal solT e、 voよ s that appearto be Practice、 vorに ,ex‐ peri「 nents with several different formal expressions F r example,thec is a、vork that cx‐ plores the male iorm from m百 ous angles(ng l).。 r B 865 thatshows a woman(Sお kia) vith varlous facial exPⅢ3ssions an(lthe nguで ol an old、 vonnan,orthe sel卜 Portrait with be3‐ vith besgarin 3 369 These and other _Oarimage seen in B 363,orthe、 vom an,ing On abed、 、vOrks aH experiment with a single person or several people seen from numerous angles They are not particularly narほ tive in nature.they resemble study works,the assemblage Of disparate fragnlenじ And yet,could they have been created tinder soine other impetus? ヽヽ]nile these can be seen as asemblages of various iorms,ho、 v should this type of plint be cOnsidered? Fi`t,let uslook at~l・ l‐c〃cα ds οlヽ″c′ 7(B367)Tt e mOdeliorthis work appea6 to be Rembrandtも tlst wifc Saskia Therc a]で thК e known states iorthis、 燿Drk The nrststate(B 367/1)shOWS Only Saskia,with her right hand Fslng against her iace and looking straight out atthe vieWer Tr e other states(ng 2)show tWO mOre heads added to the composinOn The right hand to the head PoSe vith the ngurc staring straigh1 0ut shows a state of melan― choly There is a sense oftension around this ngure l And yet,otherthan the pOse oflean‐ ing On her hand,there is nothing else that partictilarly sylT bolizes melancholy about this image Basicany itseemsto be a life study or a close observation oI Saskiat appearance 12 1 here are other prints created aroulld this tirle of SasI(iat head Forexample,・ Studies 、vith Saskia and the llead of an old man・ B365,with a dated 1636 inscriptiOn and signatu〕 で shows six sketches of her head ヽVith the exception ofthe old、 voman seen in pronle in the |: | nage,occur 7ing a large slDace in the Rei bnndi'“ d,o′ ′′l upperleit,a1l ofthe imagcs are oiSaskia The centrali「 “ cOlnpOsition shows Saskia as seen from a lovv angle,、 vith strong light shinin3 on her iace ng 2 Rcm bttnd,4■ び‖わ″″,(昴 、々ツ ヽ日に Ⅲ=Ⅲ The nameless errlotions ofthis exPression revealed by this llght piques the vieぃ ′31も il■ lagina tion Lostin thought.shelooks out atsor「 lething tO the lowcr ri3ht,nnaking us、 vOnder about 、vhat she is lool(ing at There are fourinnages oI Saskiab head aranged lⅢ Эm the upperright diagonal,ぃЭm that head to thelo、verleit A1l ofthem appcarto be sketches stlovving a spon‐ taneous molnentin time The expresion in her cyes,her tinconsclous hand Pose,and its shado、 νs an seein to speak ofthe innerstate ofthe s tter Then.in addition to these nve im_ ages of Saskia,there is a pronle illage of an oldcr、 voman in the upperleft This is the face of a beggar vvoman that Rembrandt frcquently depicted And heに it is easy tO overlook Reinbrandtも signatuc and date of 1636 As has been frequently indicated,it vas notthe custom ofthe day to use Rembrandt、 n`t name This、 vasthe pκ ferred naming inethOd Ol such ltanan Renaissance mastes asTitian(1488/90-1576).or ll ichelange10(1475-1564)Or Raphael(1483-1520)け Rembnndtt use ofthis namin3 convenlon may have been his way of aligning himseげ 、vith these Renaisance greats ″ ο′〃οθdS(ng l),cFated ca 1630,shows the same kind Of Observa● on and de '″ pictlon of an old man`expresions as seen in the mtlltiple vie、 、Of Saskia This tOO seems like sOmething more thai〕 a si!nPle study or aide nnOm01le.as indicated by the n Onogitllr RHL calved into the upper sectiOn Accoding tO the leading Rembrandt print expert. ChristOpherヽ Vhite,11 the most detalled depictiOn is seen in tl]e man in a ftlr hatin the 10、 ver left The otherimages aκ a lshO、vn atthe state Of preparation fol acid etcl]ing After printing sonlc nuniber Of Plates、 this plate、 vas cttt intO nve distinct wcllks '| This lN7pe oF depiction Of iacial expresslons can alsO be seen in Rembrandtb sel「 p01= tnl phnts whHesomewhatlaterin date,thereお anOther imnar example depicnng a sd「 pOrtrait irlage,male and fen ale beggars and childlen At nst giance thistOO appears to be studies 101 sevenl separate works,and clearly they a]c independentimages based on actual observatiOns Belo、 v the image Of tlle inother and child,Renabrandt has added his mOno‐ gann andthe date of1651 The mOnogram of R lor Rc〕 nbrandt and・ f` ll・ r thc Latin terinた こ″ or ma(le by、 vas only used On his early periOd vvOrks Thus this use ofit On a later periOd lvclk 70ul(l st ggest that this mOnogram is nOt in Relnbrandtゝ 0、vn hand i]The resenl‐ blance between the s,le Ofthis v/Ork and prints frOm arOund 1651 suggestt1latthis inscrip― tion、 vas ad(led by One of his pupils atthe pri]]ting stage MO■ 3 SO thal]whether or nOtthe inscript10n is by Rembrandt Or nOt 、vhatis impOrtant hcre is the factthat Rembrandt cOn_ sidered this to be an autOnonnOus Nvc rl(and the inclus10n ofllis n,onOgram suggests this The observatiOn ofthings and the observatiOn of people is the salT e gazc directed at different OblectS Reinblandtゝ atlttide in this regad can bc seen in prints such as his,,ご c′ ωあ与乃 οS″ dtes,■ 7cc aη ど めου場。cr Pt″ ο′ο〃cσ ごο′Rο″わ趙η″ ,1● ο′insα ルをわθ′Cap(B 372)Here there is a nghtly sketched image of a tree and to its 10wer right,a painstakingly depicted sect On of a painter、 vearing a velvet caP,set at a 90‐ degree angle frOT the tce image At nrst glance this scene appears tO be simply a rather anonymOus tandscape with tに c And yct 100king atthe rightside Ofthe cOnlpOsition,suddenly One is struck by indeed surprised b.7 the artistζ acute gaze HOvvevet here rtltherthan intending a scl「 POrt rn t.the work is a visual zation Ofthe painterヽ attitudeぉ he observes his sublect,and atthe same tirne、 the sublect he is observing The obieCts that appear on tl]e page、 thnЭ ug1l their diffeF ent handling,shO、v that thcy、 vere depicted v ithOtlt specinc fOctis on one Or tl]e Othell ヽVhether sOmethil]g frOltt nattぃ 3 0ra hum.ln ngure,these images an shO、 v his sense Oftal( ing them as subiectS for his an Ren brandt was notthe nstto depict a glcltlp oFirages On a print Older exaTples include the playing catts made by pHntmaker Master E S(ca 1420 ca 1468)に And rt,in this case the 10rnls depicted are nOt dravn iⅢ Dm the ObservatiOns of natttre The nrst exam_ ples of depicnng severtllsubiects fЮ m nature in the same cOmpOsinOn occurin the dnw― in3 mCdia For examplc、 Jacob de Che.In H(1565-1629)was a representatiVe Dutch exam ple oisuch depiction De Cheyn s Oeuvle reveal a ntilnber of 10rks dePicting various living apes P[:口 ρた th"〕 gs.each scrupulousty dePicted irom a different angle One such WOn,,cγ '“ い V and tWo Vines oi glapes above、 ο,_ttlι ιαs力 α′?″ αル烈αた RD″ ′ ShOWS pumPkins bC10` `″ age(l VOman、 vealing a 1lead cloth and in bet、veenthereisallalflengtlimageofa Tiddle― 、vhat lookS pelfectly natural,o lls is Jヽ t hist gla1lce thev 10ok like silnple sl(etches And yet Vhetller htlrran or the iactthat1le has usec the satne gaze to obServe a rO l an and Plantsヽ Diant lite,each is a stiH life,in other vvords,silnPly an oblect in de Gheyn s W01kS there is H(D sense Of putting Plants and hunnans in difierent catesories Anoulcr drawing,“ θ′ハル Caお (ng 3)卜 alsO by de Cheyn ThiS Work includes ψ 'C″ 、vhile also shOヽVing il― halilength inlages of a young n an lrO l lrOnt,back,right and leit ages oit1le Ftung anan lying On ages oitlle n3t re fr01n the diagOnalfront and back and i■ assumed Poses.but his back.:rom above and below These images dO not depict arnncial、 var oit1le artist depicting lather appear as conlpletely naturalinlages ofthe ngure,asif una、 hil■ The image oithe nsure appears staring straight ahea(l ol one lightly laushing,relaxi:lg vork,bttt rather as or stecPing These sketches do not appcarto lDe ngure studies