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)

"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 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