Rembrandt Studies in his Varied Approaches to Italian Art (Brill's Studies in Intellectual History / Brill's Studies on Art, Art History, and Intellectual History, 317/48)

Contents Preface Acknowledgements Illustrations Chapter 1 Prologue: Setting the Stage 1 Who Did, or Did Not, Travel to Italy 2 Dutch Artists Who Painted Italy at Second Hand 3 Jacob van Swanenburg and Pieter Lastman in Italy 4 Advice about Travel 5 On the Road in Italy: Nicholas Stone Jr. 6 The Material Evidence: Collecting Italian Art in Holland 7 Van Mander’s Account of Remarkable Italian Paintings in Dutch Collections 8 A Sampling of Amsterdam Collections: 1630–1660 9 Rembrandt at the Art Market 10 A Contrast in Collecting: Joachim von Sandrart in Amsterdam and Bavaria Chapter 2 Attitudes: Critical, Admiring, and Curious toward Rembrandt 1 Rembrandt’s Acquaintances Condemn His Disregard for Italian Values: Huygens, Sandrart and De Lairesse 2 Pels, De Decker, and De Geest: Polarizing Attitudes 3 Rembrandt’s Singular Manner: Houbraken 4 Rembrandt’s Naturalism in Stefano della Bella’s Model Books 5 Rembrandt’s Goal in Art Chapter 3 Rembrandt’s Collection and How He Used It: the Canonical and the Unusual 1 Drawing from the Original: Mantegna, Leonardo, Raphael, Titian 2 Reminiscences and Variations 3 Life Study Fused with Art 4 Sculpture as Substitute for Life Study Chapter 4 Pragmatic Solutions 1 Borrowed Plumes Easily Disguised 2 The Supper at Emmaus of c. 1629 3 Rembrandt and the Madonna of the Rosary: Structuring the Stage 4 Judas Returning the 30 Pieces of Silver: Caravaggio and Leonardo da Vinci 5 Two People in One Frame 5.1 The Shipbuilder and his Wife, 1633: Griet Jans Interrupting Jan Rijcksen at Work 5.2 The Ruffo Aristotle and the Bust of Homer, 1653 5.3 The Ruffo Homer, 1663 Chapter 5 Appropriating for Commentary: Rembrandt’s Critique of Titian, Raphael, and Leonardo 1 Christ Driving the Money Changers from the Temple: the 1626 Painting and the 1635 Etching 2 The Hundred Guilder Print: Exploiting Raphael, Michelangelo, Leonardo 2.1 Raphael’s Il Morbetto 2.2 Raphael’s School of Athens 2.3 Michelangelo’s Prince 2.4 Leonardo’s Last Supper Chapter 6 Appropriation and Deviation: Responding for Alternatives 1 Diana and Actaeon with Callisto and Nymphs: Referencing the Italians 2 The Flute Player and Flower Girl: an Alternative to Titian 3 The Female Nude 3.1 Danae, 1636+ 3.2 Bathsheba, 1654 3.3 A Woman Bathing in a Stream (Callisto), 1654 Chapter 7 Rembrandt Perceived by the Italians: Castiglione, the Ruffo Collection, and La Maniera Gagliarda 1 Giovanni Benedetto Castiglione: Inspired Improvisations 2 Rembrandt’s Ruffo Series 3 Abraham Brueghel’s Intermediary Role in the Ruffo Commissions 4 Guercino: Business-like, Efficient, and Respectful 5 Preti: Grudging Accommodation 6 Salvator Rosa: Independent, Arrogant, and Uncooperative 7 Brandi: Eager to Please 8 La Maniera Gagliarda 9 Baciccio: the Last Word Bibliography Index "Rembrandt: Studies in his Varied Approaches to Italian Art explores his engagement with imagery by Italian masters. His references fall into three categories: pragmatic adaptations, critical commentary, and conceptual rivalry. These are not mutually exclusive but provide a strategy for discussion. This study also discusses Dutch artists' attitudes toward traveling south, surveys contemporary literature praising and/or criticizing Rembrandt, and examines his art collection and how he used it. It includes an examination of the vocabulary used by Italians to describe Rembrandt's art, with a focus on the patron Don Antonio Ruffo, and closes by considering the reception of his works by Italian artists"-- Provided by publisher