Rembrandt: Turn of the Key

IF 0.1 4区 历史学 0 CLASSICS
Zhenya Gershman
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引用次数: 0

Abstract

There are many mysteries and much contradictory evidence surrounding Rembrandt’s life. Why was Rembrandt, the ninth of ten children, the only one to be enrolled in Latin school? Around age fifteen, why was he then pulled out to apprentice as a painter with Jacob Isaacz van Swanenburg? Why was Swanenburg, whom we would call a second-rate artist, chosen as a teacher? How did Rembrandt, the son of a miller, cross paths with Constantijn Huygens, one of the most erudite people in the Netherlands and a secretary to Stadholder, prince of Orange? How did Rembrandt, a newcomer to Amsterdam and only in his mid-twenties, become one of the most famous and sought-after artists almost overnight? And why did he then have to declare bankruptcy in 1656, dying in near poverty, abandoned by most of his students and prior collectors? Most of these questions have been dealt with by puzzled art historians in one way or another. Each of their hypotheses often contradicts the other—and in some cases, Rembrandt’s history is constructed solely from guesses. The actual evidence of his biography is largely based on two sources, the first of which is a 350-word account by Jan Jansz from 1641, part of his Leiden city guidebook.1 Even this contemporary description of Rembrandt’s career is full of generalities and subjective interpretations. The other famous source of facts about Rembrandt is the exhaustive bankruptcy list of his possessions, which, though it tells us a lot of details about Rembrandt’s private life, is full of gaps when it comes to explaining his work. Titles of Rembrandt paintings were attributed posthumously, with paintings often being revisited on numerous occasions with diametrically opposing theories and subject attributions. Such is the case with
伦勃朗:钥匙的转动
关于伦勃朗的生活有许多谜团和许多相互矛盾的证据。为什么伦勃朗,在十个孩子中排行第九,却是唯一一个进入拉丁语学校的人?15岁左右,他为什么被拉去跟雅各布·艾萨奇·范·斯瓦嫩堡当画家学徒?为什么要选斯瓦宁堡这个我们称之为二流艺术家的人当老师呢?伦勃朗,一个磨坊主的儿子,是如何与康斯坦丁·惠更斯相遇的?惠更斯是荷兰最博学的人之一,也是奥兰治王子斯塔德霍尔德的秘书。伦勃朗,一个二十多岁的阿姆斯特丹新人,是如何一夜之间成为最著名和最受欢迎的艺术家之一的?为什么他不得不在1656年宣布破产,死于赤贫,被他的大多数学生和以前的收藏家抛弃?这些问题中的大多数都被困惑的艺术史学家以这样或那样的方式处理过。他们的每一个假设经常相互矛盾——在某些情况下,伦勃朗的历史完全是由猜测构建的。他的传记的实际证据主要基于两个来源,第一个来源是Jan Jansz在1641年写的一篇350字的描述,是他的莱顿城市指南的一部分即使是这种对伦勃朗职业生涯的当代描述也充满了概括性和主观的解释。关于伦勃朗的另一个著名的事实来源是他详尽的财产破产清单,尽管它告诉了我们很多关于伦勃朗私人生活的细节,但在解释他的作品时却充满了空白。伦勃朗画作的标题是在他死后署名的,这些画作经常在许多场合以截然相反的理论和主题署名被重新审视。的情况就是如此
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来源期刊
CiteScore
0.10
自引率
0.00%
发文量
30
期刊介绍: MORE THAN humane philology is essential for keeping the classics as a living force. Arion therefore exists to publish work that needs to be done and that otherwise might not get done. We want to stimulate, provoke, even "plant" work that now finds no encouragement or congenial home elsewhere. This means swimming against the mainstream, resisting the extremes of conventional philology and critical fashion into which the profession is now polarized. But occupying this vital center should in no way preclude the crucial centrifugal movement that may lead us across disciplinary lines and beyond the academy. Our commitment is to a genuine and generous pluralism that opens up rather than polarizes classical studies.
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