Rembrandt

Rembrandt - Life and Works (Ρέμπραντ - Η ζωή και το έργο του)

by Athanasios Papakostas

Exhibition Review: "La biblia para ricos comerciantes", Rembrandt, pintor de historias. Museo del Prado, Madrid. Cultura/s La Vanguardia, 12 de noviembre de 2008.

by Joan-Lluis Palos

Sprung, Joacim, A Study by Carl Larsson in Aby Warburg's Mnemosyne-atlas, (2011)

by Joacim Sprung

The following appendix (16 in total) is part of the diss. "Bildatlas, åskådning och reproduktion. Aby Warburgs Mnemosyne-atlas och visualiseringen av konsthistoria kring 1800/1900, (Picture-atlas, Visual Education and Reproduction. Aby Warburg's Mnemosyne-atlas and the Visualization of Art History around 1800/1900), 2011, pp. 165-175. The pagination and footnotes are identical to the diss.

Rembrandt’s “Anatomy Lecture”: Dutch Culture in Civic Portraiture

by Tabbetha Atyeo

« The Vanished Child: An inquiry into figures and their modes of appearance », Imaginations: Journal of Cross-Cultural Image Studies, automne 2010.

by Bertrand Gervais

Sophie Calle's texts are elaborate devices that facilitate the production of figures, of complex symbolic entities. In... more Sophie Calle's texts are elaborate devices that facilitate the production of figures, of complex symbolic entities. In fact, her work enables us to better understand how figures emerge and unfold in the imaginary. Thus, we find in her Disparitions (Disappearances), a startling figure, which we can name the "Vanished Child". I will present this figure and explain how it stems from the description of a painting by Rembrandt, stolen at the Gardner Museum in Boston. I will start by identifying some of the essential processes implied in the identification of a figure, and, to do so, I will give two short examples, drawn from Witold Gombrowicz and Don DeLillo. Then, after having described in details the figure of the Vanished Child, I will argue, following the French art historian Georges Didi-Huberman in his reading of Walter Benjamin, that figures are auratic objects.

Oosterwijk - Vive l'amour. Lovers and Death in the Medieval Danse Macabre

by Sophie Oosterwijk

Published in Stefanie Knöll (ed.), Frauen – Sünde – Tod (Düsseldorf: Düsseldorf University Press, 2010), 9-26.

Rembrandt's 1639 etching of 'The Lovers and Death' is one in a long line of illustrations on the theme of youth... more Rembrandt's 1639 etching of 'The Lovers and Death' is one in a long line of illustrations on the theme of youth encountering death. Earlier examples can be found in the medieval Danse Macabre tradition, which in turn had their roots in depictions of Adolescentia in the Ages of Man. The idea is that youth is too focussed on love (or lust) and vain pleasures to heed the possibility of an early death. Either singly or in pairs, young men and maidens are greeted by the grim spectacle of a putrefying corpse that embodies what they themselves must become when death robs them of their youthful bloom. Yet the moralising nature of earlier texts and depictions makes way for more titillating interpretations in Renaissance art, whether it is Death preying upon couples or on hapless nubile women.

Unexpected Materials in a Rembrandt Painting Characterized by High Spatial Resolution Cluster-TOF-SIMS Imaging

by Pascale RICHARDIN

Sanyova J., Cersoy S., Richardin P., Laprévote O., Walter P., Brunelle A.
Analytical Chemistry (2011), 83(3), 753-760.

The painting materials of the Portrait of Nicolaes van Bambeeck (Royal Museums of Fine Arts of Belgium, Brussels, inv.... more The painting materials of the Portrait of Nicolaes van Bambeeck (Royal Museums of Fine Arts of Belgium, Brussels, inv. 155) painted by Rembrandt van Rijn in 1641 has been studied using high resolution cluster-TOF-SIMS imaging. In a first step, a moderate spatial resolution (2 µm) was used to characterize the layer structure and the chemical composition of each layer thanks to a high mass resolution. Then, in a second step, and despite a low mass resolution, the cluster primary ion beam was focused well below 1 µm in order to reveal smaller structures in the painting sample. The study confirmed the presence of starch in the second ground layer, which is quite surprising and, at least for Rembrandt paintings, has never been reported before. TOF-SIMS also pointed out indication for the presence of proteins, which, added to the size and shape of lake particles, suggests that it was manufactured from shearings (waste of textile manufacturing) of dyed wool, used as source of the dyestuff. The analyses have also shown various lead carboxylates, being the product of the interaction between lead white and the oil of the binding medium. These findings considerably contribute to the understanding of Rembrandt’s studio practice and thus demonstrate the importance and potential of cluster-TOF-SIMS imaging in the characterization at a sub-micrometer scale of artist painting materials.igh resolution; painting cross-section.

Murder in the Museum (Essay)

by etienne boumans

Essay. Reflections on Peter van Mensch's Essay on “Against all norms and values”. Dilemmas of collecting controversial contemporary objects, published in COMCOL Newsletter No 11, October 2010.

The Risen Christ

by Jeff Klooger

Published in Eureka Street in 2009

A poem inspired by Rembrandt's painting of the risen Christ. A poem inspired by Rembrandt's painting of the risen Christ.

“Rembrandt’s Nicolaes Ruts.”

by Louisa Ruby

Rembrandt and His School: Masterworks from The Frick and Lugt Collections. New York, The Frick Collection, 2011.

“Casta Susana”: el baño de Susana, voyeurismo y écfrasis en un soneto de Lope de Vega

by Antonio Sanchez Jimenez