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Rembrandt and the Female Nude AUP SLUIJTER.REMBRANDT 24X26,5 V20 27-08-2006 17:01 Pagina 2 AUP SLUIJTER.REMBRANDT 24X26,5 V20 27-08-2006 17:01 Pagina 3 AUP SLUIJTER.REMBRANDT 24x26,5 v20 27-08-2006 17:01 Pagina 1 Rembrandt and the Female Nude AUP SLUIJTER.REMBRANDT 24x26,5 v20 27-08-2006 17:01 Pagina 2 AUP SLUIJTER.REMBRANDT 24x26,5 v20 27-08-2006 17:01 Pagina 3 Rembrandt and the Female Nude Eric Jan Sluijter amsterdam university press AUP SLUIJTER.REMBRANDT 24x26,5 v20 27-08-2006 17:01 Pagina 4 The publication of this book is made possible by a grant from XXX Coverdesign and layout: Suzan Beijer, xxx Frontcover: Rembrandt, Suzanna, xxx Backcover: xxx isbn 13 978 90 5356 837 8 isbn 10 90 5356 837 9 nur 654 © Amsterdam University Press, 2006 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. AUP SLUIJTER.REMBRANDT 24x26,5 v20 27-08-2006 17:01 Pagina 5 Table of Contents Preface and Acknowledgments 9 i Introduction ? ii Andromeda Chained to the Rock ? Andromeda by Hendrick Goltzius and his circle ? The image of Andromeda’s plight as metaphor ? Rembrandt and Andromeda ? iii Intermezzo Rembrandt and the Depiction of the Passions ? in the 1620s and 1630s Rembrandt, Huygens, rhetoric, and antiquity ? Samuel van Hoogstraten and Rembrandt’s lijdingen de gemoeds ? A theatrical analogy ? Rembrandt, Rubens, antiquity, and the passions: a case study ? iv Susanna and the Elders ? Susanna in prints of the sixteenth century ? Susanna in the early seventeenth century ? Rembrandt’s Susanna of 1636 ? Rembrandt’s Susanna of 1647 ? Some other Amsterdam Susannas of c.1640-1660 ? AUP SLUIJTER.REMBRANDT 24x26,5 v20 27-08-2006 17:01 Pagina 6 v Intermezzo Images of the Nude: Moral Disapproval and Erotic Impact ? Religious outrage ? Moralizing disapproval ? Erotic amusement ? A ‘virtual reality’ ? Playful erotic wit in images and texts ? Paintings with nudes in private homes ? vi Diana and Her Nymphs Surprised by Actaeon ? and the Discovery of Callisto’s Pregnancy Diana Surprised by Actaeon in the late sixteenth and early seventeenth centuries ? The Discovery of Callisto’s Pregnancy in the late sixteenth and early seventeenth centuries ? Rembrandt’s painting of Diana and Her Nymphs ? Seventeenth-century interpretations of the two fables and Rembrandt’s invention ? vii Intermezzo Rembrandt and Notions about Art: ‘Coloring’ ? and the ‘From Life’Ideology Arnold Houbraken and Andries Pels ? Jan de Bisschop and Joost van den Vondel ? Giorgio Vasari and Karel van Mander ? Karel van Mander continued ? From Rome to Holland: debates in the first half of the seventeenth century ? Joachim von Sandrart ? viii Danaë ? Legendary paintings of Danaë ? Titian’s Danaë of 1545 ? Goltzius’s Danaë of 1603 ? Ketel, Wtewael, and Bloemaert ? Back to Rembrandt’s Danaë ? Rembrandt’s contemporaries ? AUP SLUIJTER.REMBRANDT 24x26,5 v20 27-08-2006 17:01 Pagina 7 ix Intermezzo Imitation, Artistic Competition, and Rapen ? Van Mander, Angel, Van Hoogstraten, and Houbraken on the subject of rapen ? Imitation as part of the learning process and beyond ? Artistic competition ? x Prints and Related Drawings: Modeling the Nude ? The Diana and the Nude Woman Seated on the Mound ? Sleeping Woman Approached by a Satyr ? The Artist Drawing from the Nude Model (‘Pygmalion’): Apelles Drawing ? Victory? ? Cleopatra and Adam and Eve ? Studies from the nude model, 1646-1661 ? Jupiter and Antiope ? xi Intermezzo The Nude, the Artist, and the Female Model ? The nude and the naked: ‘ideal’ versus ‘real’ from Kenneth Clark to the seventeenth century ? Fictions about the artist and the nude female model ? Drawing after the nude female model ? Rembrandt’s models: Hendrickje? ? xii Bathsheba Contemplating King David’s Letter ? The pictorial tradition ? Rembrandt’s images of Bathsheba before 1654 ? Some paintings of Bathsheba o f the 1640s and 1650s by Rembrandt’s colleagues ? Rembrandt’s Bathsheba of 1654 ? Bathsheba, the sense of sight, and the depiction of beauty ? The biblical Bathsheba ? Rembrandt’s Bathshebas ? Notes ? Bibliography ? Index ? AUP SLUIJTER.REMBRANDT 24x26,5 v20 27-08-2006 17:01 Pagina 8 AUP SLUIJTER.REMBRANDT 24x26,5 v20 27-08-2006 17:01 Pagina 9 Preface and Acknowledgments An entirely unimportant event in 1976, the year that, af- ion, I must have felt it as a betrayal – not only of Rem- ter four years at the Netherlands Institute for Art History brandt, but also of my teacher, professor Henri van de (rkd), I began my academic career at the Institute for Waal and of my aunt Titia Bouma, 20 years before me al- Art History at Leiden University, is indelibly printed in so a disciple of Van de Waal; she taught me how to look at my memory. At a reception a colleague introduced me to Rembrandt’s art at the huge 1956 Rembrandt exhibition a curator in modern art of a local museum and told him (101 paintings!) in the Rijksmuseum, when I was an excit- that I had just been appointed as assistant professor and ed ten-year-old kid. Perhaps I have always had the feeling was specializing in Dutch art of the early modern period. that I had to make amends. ‘Oh, Rembrandt, I suppose,’ the man said condescend- It took a long time before I ventured to study the work ingly. I hastened to explain that I was not much interested of Rembrandt. At first I considered it my main task to in Rembrandt and was mainly engaged with late seven- bring to the fore neglected works of art, from painted teenth-century and eighteenth-century art (these were wall hangings by unknown eighteenth-century artists, indeed the areas I was in charge of at the rkd). At that via depictions of mythological themes, to the art of the time it was ‘out’ to study the masters of the old canon: Leiden ‘fine painters’ and works by Hendrick Goltzius. every artist was equally important and painters that had For many years I did not dare to study an awe-inspiring been looked at with disdain by former generations of art figure like Rembrandt. However, during the research for historians were precisely for that reason all the more in- my dissertation on subjects from classical mythology in teresting. Since I still remember so vividly my rash react- Dutch seventeenth-century painting, each time I was 9 AUP SLUIJTER.REMBRANDT 24x26,5 v20 27-08-2006 17:01 Pagina 10 faced with works by Rembrandt I experienced that, with- Williamstown (the other was on the Art of Painting by in the framework of my approach, there was so much Vermeer – in which I ventured for the first time to study more to say about his paintings than about the works of the other luminary of Dutch art). This resulted in a sub- his colleagues. This approach consisted in the first place stantial article published in Simiolus: ‘Emulating Sensual of tracing pictorial traditions and iconographical con- Beauty: Representations of Danaë from Gossaert to ventions of those subjects, and of examining the ways in Rembrandt,’ which I dedicated to Julius Held, who has which artists were involved in a continuing dialogue with been a great inspiration for me.5 The above-mentioned these traditions and conventions. It was then that I dis- publications were adapted, expanded, and elaborated up- covered the intensity and profoundness with which Rem- on in the chapters ii, iv, viii, and xii of this book. The brandt sustained this dialogue. Within the context of the chapter on Rembrandt’s etchings and drawings with the dissertation I could only elaborate upon this in the chap- female nude, for me a much less familiar field than his ters on Diana and Her Nymphs Surprised by Actaeon and paintings, came into being in 2005. A few years earlier a the Discovery of Callisto’s Pregnancy, when discussing skeleton for this book was composed when Julia Lloyd Rembrandt’s combination of the two subjects in his Williams asked me to write an essay on Rembrandt’s painting of 1634.1 This was the first time that I wrote paintings of the female nude in the catalogue accompany- with some detail about a work by Rembrandt. One of the ing the magnificent exhibition she mounted, -Rem chapters of the present book deals with this painting brandt’s Women, held at the National Gallery of Scot- (chapter v) and expands on the research I did in the early land, Edinburgh, and the Royal Academy, London 1980s on this subject. (2001).6 The fundamentals for the intermezzo on Rem- A review of Gary Schwartz’s monograph was my first brandt and notions about art (chapter vii) were laid in separate publication on Rembrandt.2 When writing this, the middle part of that essay. I became aware of the fascinating role of Huygens in the The other intermezzi received their shape in the last formation of the young Rembrandt (see chapter iii). two years; some of them are based on earlier research, in Subsequently there followed, as a hesitant beginning of a particular chapter V on erotic and moral concerns, which series of studies on Rembrandt’s female nudes, the publi- expands partly on research for the last chapter of my dis- cation of a paper on the Andromeda and the Susanna in sertation and partly on information and ideas employed the Mauritshuis, read at a symposium in Stockholm in the article ‘Venus, Visus en Pictura,’ published in the (1992), to which I was invited by Görel Cavalli-Björk- Nederlands Kunsthistorisch Jaarboek on Hendrick Golt- man.3 This lead to Ann Jensen Adams’s proposal to write zius (1993).7 Parts of several chapters (especially iii and an essay for a book entirely devoted to Rembrandt’s 1654 vii) grew out of an essay ‘Antiquity through Rem- Bathsheba in the Louvre.
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