Journal articles on the topic 'Rembrandt Harmenszoon van Rijn'

Works of art have a substantial impact on viewers not only because of the beauty of the image but also because of the dominance of the decisive moment they express. Rembrandt Harmenszoon van Rijn managed with his group portrait The Anatomy Lesson of Dr Nicolaes Tulp to draw viewers into the scene of dissection of a body thanks to the dynamics of the painted characters. At the beginning of the 16th century, the practice of public autopsies spread throughout Europe. In 1555, King Philip II granted the Guild of Surgeons in Amsterdam the privilege of dissecting executed criminals for educational and scientific purposes. Dissections were performed once a year during the winter months to prevent rotting and decomposition of corpses, and the procedure itself often lasted several days. Dr Nicolaes Tulp performed the autopsy of a hanged convict in 1632, which Rembrandt immediately painted. With this piece, the artist presented the beginning of a new pedagogical approach to teaching anatomy. The picture represents Dr Nicolaes Tulp instructing seven onlookers as he is dissecting a hand and showing the flexor digitorum superficialis.

The article is devoted to Dutch art — the Leiden School in Holland in the 17th century. The author analyzes the defi nition, particularities and the theoretic foundations of the characteristics and the artistic legacy of the painters — the representatives of the Leiden school and also demonstrates the close connection between naturalism and the particularities of the paintings of the school’s adherents and the uniqueness of the works by such masters as Rembrandt Harmenszoon van Rijn, Gerrit Dou and Frans van Mieris the Elder.

Sanat tarihçilerinin Maniyerizm’den sonra ve Rokoko’dan önce gelen dönemi tanımlamak için kullandıkları bir terim olan Barok, tarihsel sürecine bakıldığında ilk olarak İtalya’da ortaya çıkmış ve sonrasında Fransa, İspanya ve Hollanda gibi Avrupa şehirlerine sıçrayarak bu ülkelerde yaşayan pek çok sanatçıyı etkisi altına almıştır. Bu sanatçılardan biri de Hollandalı ressam Rembrandt Harmenszoon van Rijn olmuştur. Her ne kadar Rembrandt denildiği zaman, akla ilk olarak sanatçının “Gece Devriyesi” gibi ikonik yapıtları gelse de sanatçının birçok resmini Doğu dünyası üzerinden kurguladığı dikkat çekmektedir. Bu kontekste, XVII. yüzyılda Amsterdam’ın uluslararası ticaretin merkezi haline gelmesi ve böylelikle Doğu ülkelerinden birçok Şark ürününün Hollanda’ya ulaşması, pek çok çağdaşı ile beraber Rembrandt üzerinde de derin bir iz bırakmıştır. Kariyeri boyunca bu ögeleri, üzerinde en çok çalıştığı portreler ve Kitâb-ı Mukaddes’te geçen olayları ele aldığı; yağlı boya, desen ve gravür çalışmalarında titiz bir şekilde tasvir eden Rembrandt, böylece yapıtlarına mistik bir Doğu atmosferi kazandırmış ve resimlerinde Doğu ile bağlantı kurarak farklı bir dünya kurgulamıştır. Sanatçının, Doğu dünyası ile kurmuş olduğu bu bağlantı ise çağdaşları ve kendisinden sonra gelen bazı ressamların fantezist bakış açısıyla ele aldıkları tasvirlerden ziyade, Doğu’nun orijinaline sadık kalma çabalarından dolayı farklılık göstermiştir. Bu makale kapsamında da sırasıyla Barok dönem ile Hollanda Altın Çağı resim sanatının karakteristik özelliği hakkında bilgi verilmiş, araştırmanın geri kalan kısımlarında ise Rembrandt’ın Doğu dünyasından esinlenerek yoğunlaştığı çalışmaları derlenerek irdelenmiştir. Böylece, dönem sanatına Rembrandt ve Doğu dünyası özelinde farklı bir pencere açılarak bakılmaya çalışılmıştır.

O artigo discute o trabalho desenvolvido pelo Grupo Máskara – Núcleo de Pesquisa Transdisciplinar em Teatro, Dança e Performance –, na formação de artistas da cena que procuram de forma séria compreender a profundidade do fazer teatral enquanto experimento e pesquisa. Nesse sentido, apresento a minha experiência no grupo enquanto artista, iluminador e pesquisador. Para tanto, demonstro o processo criativo da luz na peça Senhora dos Afogados (1947) do dramaturgo brasileiro Nelson Rodrigues (1912-1980), sob a encenação do Dr. Robson Corrêa de Camargo no ano de 2012 na cidade de Goiânia, Goiás. A problematização desta pesquisa se estruturou no estudo pictórico do artista plástico holandês Rembrandt Van Rijn (1606-1669) em seus trabalhos de luz e de sombra. Portanto, o processo criativo da luz de Senhora dos Afogados, apoiado sobre a perspectiva da luz e da sombra na obra de Rembrandt, aponta a relevância da pesquisa teórica e prática para a produção da cena do Grupo Máskara.

Este trabajo se inscribe en la reflexión sobre las intersecciones entre cine y pintura. Para ello, analiza elementos de la pintura La ronda nocturna, de Rembrandt van Rijn en función de algunos discursos que atraviesan la película Nightwatching, de Peter Greenaway. El análisis apela a la noción de “instante cualquiera” retomada por Deleuze y la teoría de la enunciación aplicada a la comunicación visual.En este sentido, advierte en la pintura de Rembrandt un destello del ideal estético moderno que se terminará de asentar con la cámara cinematográfica, al tiempo que también reconoce en la ausencia de la mirada frontal propia del género de retratos grupales durante ese período un quiebre importante hacia la constitución de un espacio diegético autónomo tal como se va a desarrollar en la etapa del cine clásico.

Abstract It is therefore nothing short of frustrating that the passing on 4 October 1669 of Rembrandt van Rijn, long considered the greatest among seventeenth-century Dutch painters, has left scarcely any traces. In her essay Stephanie Dickey reconstructs the circumstances of the artist’s death. Her piece amounts to a cultural history of death and burial in Protestant Amsterdam. Rembrandt was buried like any other citizen. No elaborate funeral ceremony took place; no eulogies were composed; no funeral monument was erected. He ended up in a rented grave with two other men. The now lost stone slab probably only included his name. The exact location in the Westerkerk went unrecorded. As Dickey almost ruefully concludes, ‘(…) Rembrandt’s modest burial suited his standing as one established artist among many in the busy city’.

Abstract A self-portrait is a common representation of an artist with different techniques by that artist and emerged since the 15th century. Albrecht Dürer was one of the first artists who performed various self-portraits during his life. The fascinating aspect from a gerontological point of view is that artists show themselves throughout the aging process as well as sometimes with manifest signs of diseases. The poster show self-portraits over the life course from Rembrandt van Rijn (1606-69), Vincent van Gogh (1853-90), Ferdinand Hodler (1853-1918), Lovis Corinth (1858-1925), Helene Schjerfbeck (1862-1946), Edvard Munch (1863-1944), Käthe Kollwitz (1867-1945), Pablo Picasso (1881-1973), and Max Beckmann (1884-1950).

<p><strong>Abstract.</strong> 2019 marks the 350th anniversary of the death of the famous seventeenth-century painter Rembrandt van Rijn. Rembrandt was born in 1606 in the city of Leiden, located in the Netherlands. Here he grew up, was educated and set up his early practice before moving to Amsterdam at age 31. He is the son of a miller's family, which lived and worked in the city at the dawn of the Dutch Golden Age – a period in which Leiden transformed from a medieval city to an early modern metropolis. Although the historical city fabric of Leiden is well preserved, the birthplace of the famous painter, unfortunately, has been demolished. Also, the surroundings are unrecognizable today. For this reason, the tourism and marketing department of the city asked Erfgoed Leiden, the regional heritage department, to make a 3D virtual reconstruction of Rembrandt's birthplace and its surrounding. It resulted in a multi-disciplinary collaboration between archivists, building archaeologist, and a 3D artist. This paper reflects this cooperation from historical research over aspects of the 3D modeling pipeline to the final products of the reconstruction. Following a <q>reliability</q> matrix, the data were categorized for their reliability after careful evaluation of their accuracy depending on the source.</p>

As duas pinturas de Rembrandt van Rijn (1606-1669) nas quais o artista holandês retrata lições de anatomia em 1632 e 1656 revelam limitações que a leitura de uma obra de arte pode impor ao olhar contemporâneo se nos ativermos apenas ao universo de nossa subjetividade, ignorando o panorama histórico no qual tais representações foram criadas. A partir dessa constatação aparentemente óbvia, o presente trabalho pretende apontar os parâmetros clássicos que determinaram a longa tradição das práticas anatômicas e alguns de seus desdobramentos contemporâneos, com especial enfoque nos trabalhos do polêmico artista, ou seria melhor dizer, médico e anatomista alemão Gunther Von Hagens. Como no Atlas Mnemosyne, de Aby Warburg, a associação de imagens estrutura o eixo das reflexões.

SUMMARY The scientific interests of Rev. Professor Janusz Pasierb revolved mostly around questions related to Polish art, often in the perspective of European interconnections, inspirations, as well as differences. The present study has been inspired by an observation by Rev. Professor Pasierb made in reference to a sphere of human activity unrelated to art. Describing in one of his papers the figure of Bishop Konstantyn Dominik (1870–1942), Professor Pasierb employed the phrase extraordinary ordinariness17. In the present text, this term will be used to discuss an artist whose oeuvre depicts ‘extraordinary ordinariness’ in the most multi-aspected and spectacular way. Rembrandt van Rijn was at once a traditionalist and innovator, both in regard to the range of employed subjects and compositional schemes and his craftsmanship. His knowledge of the achievements of his forerunners, continuously developed, inspired his own artistic quest. Despite the fact that he was a painter in the period when elaborated allegory was universally employed, he insisted on the realism of scenes and directness of compositions in order to bring out the extra-sensual dimension, based on symbolism hidden in prosaic life. His works open spaces of universal experiences and feelings, at the same time inclining us to pose questions concerning their complex intellectual interpretation or Rembrandt’s technique. His mastery is equally palpable in his biblical compositions, landscapes or brilliant psychological portraits, while each of the genres was depicted by him both in painting and in graphic arts, which was rare in the times when most artists specialized in only one medium, or even in one genre, like portraits or landscapes, in one medium. Rembrandt is one of the artists referred to as painters-engravers (peintre-graveur), like Albrecht Dürer or Lucas van Leyden before him. In graphic arts in particular, he introduced new technical and compositional solutions, issuing works that often astound with their innovative approach and extremely individual interpretation. Rembrandt’s versatility in terms of addressing various genres is particularly visible in his prints. Certain subjects were resumed by him as he looked for ever new solutions. Several chosen examples of graphic works depicting religious themes combining in various aspects traditionalism and innovation will be discussed to illustrate Rembrandt’s iconographic, compositional and technical concepts and search.

AbstractIn forensic science, signatures are identified by means of comparative handwriting analysis - not to be confused with graphological examination. To the authors' knowledge, no systematic investigation has hitherto taken place as to the effectiveness of subjecting signatures on old master paintings to such comparative analysis. Even when judgment is passed on signatures in art-historical publications, it is seldom based on an investigation which could stand up to the critical standards of handwriting experts. Partly due to insufficient knowledge of the relevant criteria, signature assessment therefore tends to be influenced in both a positive and a negative sense by opinions about the painting. (I.b.) This article describes the results of examinations of Rembrandt signatures on paintings from the period 1632-1642, conducted by a team of two forensic handwriting experts headed by the controller of the experiment. The Rembrandt Research Project team supplied a total of 123 photographs of signatures, 88 of which were deemed suitable for evaluation, 73 of them belonged to the 'Rembrandt' type, and 15 to the 'RHL van Rijn' type. Only aftcr our examination wcrc we able to confirm, on the basis of Vol umcs 11 and 111 of the Corpus, which of these signatures occur on paintings accepted by the RRP team as authentic Rembrandts, and which on de-attributed paintings. The monograms discussed in Volume I of the Corpus proved to be unsuitable for our investigation, due to the insufficient number of characteristics they yield. (I.d. and I.e.) In the examination of handwriting, the characteristics of a series of incontestably genuine signatures arc compared with the characteristics encountered in a series of signatures whose identity is to be established. This procedure was unfeasible for the examination in question, for, regardless of whether the usual methods of comparison can be applied to signatures rendered with a brush, the question arises as to which of the signatures on a paining are indisputably authentic. Reconnaissance of the signature problem shows that the art historian is unable, for various reasons, to quarantee that a painting established without a shadow of doubt as a Rembrandt actually bears the master's own signature. (I.c.) We therefore opted for a different procedure, but not until exploratory experiments had led us to expect that the usual methods of comparing handwriting would be feasible. (III.a.) Entirely ignorant of art-historical assessments of the paintings in question and their signatures, the hand writing experts analysed the available material on the basis of characteristics used in the comparison of normal signatures and handwriting (11.a.) The team's experiment-controller liaised with the art historians and evaluated the results statistically. (I.d.) The exploratory and statistical character of our investigation was one of the reasons for dispensing with a systematic enumeration of all the individual signature assessments. Working in this fashion, we selected a group of i 'Rembrandt'type signatures from the available material, signatures which formed a homogeneous group because of their shared characteristics. We called them the reference signatures. The homogeneous character of the reference group reflects, in our opinion, the recognizable and reproducible characteristics of Rembrandt's signature. The reference signatures are therefore assumed to have been executed by Rembrandt himself. With the aid of the group of reference signatures, the other material was further evaluated. The outcome was a list in which the signatures are graded as to their probable authenticity. In forensic handwriting comparison, probability gradations stem from the statistical character of the comparison process. (II.b.) They permit nuances to be made in the assessment of a signature. The extent to which identification criteria are satisfied, the consequences of restorations and other doubtful elements which are hard to assess, especially in the case of negative judgment (V.b.), are reflected in the individual probability gradations. Figures 1, 2 and 3 show three signatures from the reference group, accompanied by a number of shared characteristics occurring in the reference group. (IV.a) Figures 4 and 5 show signatures which have been assigned a lower probability gradation; one (figure 4) graded authentic, the other (figure 5) as not. (IV.b.) Only the first four letters of the signature in figure 7 are regarded as authentic; it is one of the seven examined signatures containing only a 't'. (V.b.) This procedure skirts the problem of non-guaranteed comparative signatures. Statistical evaluation of the results can also provide an insight into the question of whether the usual techniques for examining handwriting can be successfully applied to signatures on paintings. If the assessments thus obtained prove to be reliable, they may generate further valuable art-historical information. The results of the examination of the 73 'Rembrandt'-type signa tures are summarized in a table in which the signature assessments are related to the qualifications of the paintings as recorded in Volumes 11 and 111 of the Corpus. This table does not give the probability gradations, which arc however for the sake of convenience simply grouped into 'authentic' and 'non-authentic'. (V.a. and Table I) The table contains the most pertinent statistical data. In order to test thc reliability of the handwriting experts' assessment statistically, we employed a ratio based on signatures occurring on non-authentic paintings. Reliability proved to be almost 90%. Unfortunately, authentic paintings arc not suitable subjects for this kind of test. Evaluation of the results leads us to conclude that, under conditions to be described in greater detail, handwriting examination techniques arc in fact applicable to the assessment of signatures on paintings. The procedure described here only yields results when a large number of signatures with suflicient information content are available. The 73 'Rembrandt'-type signatures permitted the formation of a reference group, but the 15 'RHL van Rijn' specimens were not enough. (V.b.) On the assumption that the handwriting experts' judgment was reliable, only about 40% of the paintings established by the RRP team as authentic were actually signed by Rembrandt himself. It transpired that one of the reference signatures came from a pupil's work (figure 6), as did two others regarded as authentic, albeit with a lower probability gradation. The handwriting experts' results thus supply independent corroboration of the art-historical opinion that Rembrandt signed studio work. (V.b. and Table I) Comparison of the results of our investigation with corresponding assessments of 'Rembrandt'-type signatures by the RRP team yielded 11 controversial opinions: 8 among the 47 authentic paintings and 3 among the 26 unauthentic ones. (V.C.I.) Apart from the experience of the handwriting experts, controversies stem from the fundamentally different approaches of the two disciplines in forming their judgment by means of selecting reference signatures and evaluating characteristics. The fact that the handwriting experts reject more signatures on authentic paintings and accept more in the case of unauthentic ones than the art historians is due to the two disciplines' different kinds of knowledge about the relationship between signature and painting. (V.c.2.) Statistical evaluation of the collaboration of the two fields leads to the general conclusion that the intervention of the handwriting experts results in significantly more rejections of signatures on authentic paintings than has been previously established by the art historians. Moreover, on the basis of results obtained by the two disciplines in the case of the 47 authentic paintings, the statistical expectation is that of all the signed authentic paintings by Rembrandt, roughly half do not (any longer) bear his own signature. (V.c.3) It is to be expected that distinct photographic enlargements, in combination with in situ scientific examination of the material condition of the signature and its direct surroundings, will improve the reliability of signature assessment. Keith Moxey, Peasants, Warriors, and Wives. Popular Imagery in the Keformation, (The University of Chicago Press. Chicago and London, 1989). 165 Seiten mit 57 Schwarz-welß-Abbildungen. In den USA ist in den letzten Jahren eine zunehmende Aufmerksamkeit für die deutsche Kunst der Dürerzeit und speziell der Reichsstadt Nürnberg zu verzeichnen. Die bedeutenden Ausstellungen 'Gothic and Renaissance Art in Nuremberg 1300-1550' (1986) und 'The World in Miniature. Engravings by the German Little Masters' (1988/89) sowie eine Reihe von Dissertationen manifestieren dieses Interesse, dem auch das vorliegende Buch zu verdanken ist. Der Autor hat sich seit seiner Dissertation über Pieter Aertsen und Joachim Beuckelaer (1977) der Erforschung der profanen und populären Bildwclt des 15. und 16. Jahrhunderts in Deutschland und den Niederlanden gewidmet und dabei die Frage nach den gesellschaftlichen Funktionen und Intentionen solcher Darstellungen im Medium der Druckgraphik in den Mittelpunkt gerückt. Der vorliegende Band präsentiert drei Studien zu thematischen Schwerpunkten des Nürnberger Einblattholzschnitts im Zeitalter der Reformation, verbunden durch weitere Kapitel über die historische Situation Nürnbergs und über die medialen Charakteristika von Holzschnitt und Einblattdruck. Der wissenschaftliche Apparat belegt, daß Moxey die reiche deutschsprachige Literatur zur Nürnberger Kunst- und Lokalgeschichte gründlich studiert hat. Seine Übersetzungen der Texte der Einblattdrucke (in den Anmerkungen nach den Originalen transkribiert und zitiert) sind akzeptabel. Das Buch wird mit einer hermeneutischen Standorthestimmung eingeleitet, was angesichts des gegenwärtigen Pluralismus der Kunstbegriffe und Methodenansätze zunehmend zum Erfordernis wissenschaftlichen Verantwortungsbewußtseins wird. Der Versuch, Bedeutung und Funktion populärer Bildmedien der Vergangenheit und ihrer Darstellungen zu ermitteln, darf sich weder auf einen ästhetisch definierten Kunstbegriff verpflichten, noch sich auf Methoden verlassen, die an diesem Kunstbegriff ausgerichtet sind. Während zum Beispiel die Ikonologie Bilder als Dokumente weltanschaulicher Einstellungen betrachtet und ihre Bedeutung an die gcistesgeschichtliche Stellung ihrer inhaltlichen Aussagen bindet, stellt sich bei den populären Bildmedien der Reformationszeit die Frage nach ihrer nicht nur reflektierenden, sondern aktiv gestaltenden Rolle als Kommunikationsmittel bei der Artikulierung gesellschaftlicher Interessen und politischer Absichten. Damit gewinnen für den Kunsthistoriker Fragestellungen der Soziologie und der Semiotik vorrangige Bedeutung. Es ergibt sich aber das Problem, daß moderne Begriffe wie 'Klasse' oder 'Ideologie' die Rekonstruktion historischer Vcrständnishorizonte behindern können. Moxey sicht dieses Problem, neigt aber dazu, ihm in Richtung auf cincn meines Erachtens oberflächlichen Pragmatismus auszuweichen, wenn er mit Hayden White postuliert, der Historiker könne nur die Fragen stellen, die ihm seine eigene Zeit aufgibt. Es wird sich zeigen, daß diese Einstellung problematische Konsequenzen hat. Der Überblick über die historische Situation Nürnbergs (Kapitel i) hebt folgende Faktoren hervor: die oligarchische Herrschaft des Handelspatriziats mit rigider Kontrolle über alle Aktivitäten der unteren Bevölkerungsschichten; die Propagierung einer vom Patriziat definierten kulturellen Identität des Nürnberger Bürgertums durch öffentliche Darbietungen (Schembartlauf, Fastnachtsspiele), bei denen die Abgrenzung von unbürgerlichen Lebensformen, personifiziert durch Narren und Bauern, eine wesentliche Rolle spielt; die Verbundenheit des herrschenden Patriziats mit der kaiserlichen Sache trotz Religonskriegen und konfessionellen Gegensätzen; der Beitrag der nationalistischen Ideen der Nürnberger Humanisten zum rcichsstädtischcn Selbstverständnis ; die Lösung des Konflilzts zwischen protestantischem Bekenntnis und Kaisertreue mit Hilfe von Luthers Lehre der 'zwei Welten'. Kapitel 2 ('The Media: Woodcuts and Broadsheets') behandelt die Aufgaben des Holzschnitts, die Bedingungen seiner Herstellung und Verbreitung im Zusammenhang mit dem rasanten Auf-stieg des Buch- und Flugblattdrucks und einer auf Aktualität zielenden Publizistik, sowie die Stellung der Künstler als Vorlagenzeichner, die von den Druckern und Verlegern weitgehend abhängig waren. Bisherige Versuche, Holzschnitte und Illustrationen als Ausdruck persönlicher Überzeugungen der Vorlagen zeichner zu deuten, mußten daher in die Irre führen, wie Moxey am Beispiel der Brüder Beham belegt. Zu den Rahmenbedingungen der medialen Funktion Nürnberger Holzschnitte gehört aber noch ein weiterer Faktor, den Moxey nicht berücksichtigt: der deutliche Gegensatz zwischen Holzschnitt und Kupferstich im Hinblick auf Verbreitung, Themenwahl, Darstellungsweise, Verhältnis Bild-Text und Rezeptionsweise, der unter anderem dazu führt, daß an übereinstimmende Themen bei gleichen Künstlern unterschiedliche formale und inhaltliche Anforderungen gestellt werden, und daß sogar Motive bei der Übernahme aus einem Medium in das andere ihre Bedeutung ändern können. Dieser Gegensatz ist charakteristisch für die Nürnberger Graphik und ist weder in der Augsburger noch in der niederländischen Graphik dieser Zeit annähernd vergleichbar deutlich ausgeprägt. Kapitel 3 ('Festive Peasants and Social Order') ist die überarbeitete Fassung eines Aufsatzes, der in 'Simiolus' 12, 1981/2 unter dem Titel 'Sebald Beham's Church Anniversary Holidays: Festive Peasants as Instruments of Repressive Humour' erschienen ist. In die damals aktuelle, von Hessel Miedema und Svetlana Alpers ausgelöste Debatte über die Deutung von Bauernfest-Darstellungen und die Funktion des Komischen in Kunst und Dichtung des 16. Jahrhunderts hatte dieser Aufsatz wegweisende Argumente eingeführt, die mir bei meinen eigenen Forschungen über die 'Bauernsatiren' sehr nützlich und klärend waren. Abgesehen von einem knappen Hinweis Konrad Rengers (Sitzungsberichte der Kunstgeschichtlichen Gesellschaft zu Berlin, neue Folge, 20, 1971/72, 9-16) hatte Moxey als erster auf den Zusammenhang der Bauernfest-Holzschnitte mit der literarischen Tradition der Bauernsatire aufmerksam gemacht, welche durch die Behams in der Verbindung von Bild und Text und der Nähe zu Dichtungen des Hans Sachs für Nürnberg aktualisicrt wurde. Diese 'Bauernfeste' sind folglich keine Zeugnisse eines folkloristischen Realismus, sondern komplexe Übertragungen literarischer Stereotype in Bilder. Die Bauern und ihre Kirmessen und Hochzeiten sind weniger Gegenstände und Ziele dieser Darstellungen, sondern fungieren als Mittel der Stände- und Moralsatire. Lediglich in einem Punkt haben mich Moxey's Argumente nicht überzeugt: für ihn scheinen die feiernden Bauern der Behams tatsächlich die Dorf-bewohner des Nürnberger Umlandes aus der ideologischen Sicht der Patrizier darzustellen. Dies deutet er an, wenn er die Holzschnitte als 'visual vehicle for the expression of class ridicule' betrachtet und im - neu formulierten - Schluß des Kapitels bei Betrachtern aus dem Nürnberger Handwerkerstand sentimentale Erinnerungen an das 'freiere' Leben ihrer bäuerlichen Vorfahren vermutet. Zu Beginn des Kapitels setzt er sich mit zwei Richtungen der traditionellen Interpretation auseinander, welche diese Holzschnitte als unmittelbare oder mittelbare, d.h. ideologische Reflexe gesellschaftlicher Wirklichkeit betrachteten. Aber auch er löst sich nicht ganz von dieser Prämisse, wie der neuformuliertc Titel 'Festive Peasants and Social Order' bekräftigt. Dagegen habe ich einzuwenden, daß die literarische Tradition der Bauern-und Bauernfestsatire in keinem unmittelbaren Zusammenhang mit der Ständelehre steht, welche die Rechte und Pflichten des Bauernstandes festlegt. Deren Gegenstand ist vielmehr der Bauer als Ernährer der Gesellschaft, der arbeitet und Abgaben leistet oder sich dieser ihm von Gott zugewiesenen Rolle verweigert. Darauf nehmen die Bauernfest-Holzschnitte nur insofern Bezug, als Ausschweifungen, Luxus und bewaffneter Streit die Einhaltung dieser bäuerlichen Pflichten gefährden. Im Vordergrund steht aber die Funktion dieser Holzschnitte als satirischer Spiegel 'bäurischer' Unsitten, so daß der Titel besser lauten sollte 'Festive Peasants and Social Behaviour'. Hier rächt es sich, daß Moxey den modernen soziologischen Bcgriff 'Klasse' anstelle des historisch angemessenen Begriffs 'Stand' verwendet. 'Stand' impliziert eine Reihe theologischer und moralischer Wertsetzungen, die dem politisch-ökonomisch definierten Begriff 'Klasse' fehlen. Aber gerade mit diesen 'argumentieren' die Holzschnitte und die ihnen entsprechenden Texte, und auf dieser Ebene des Arguments nehmen sie auch Stellung zur politischen und konfessionellen Aktualität. Eine andere Frage ist, welche Aspekte der Bedeutung der zeitgenössische Betrachter wahrnahm: politische, moralische, konfessionelle, literarische, brauchtumsmäßige usw. Dies dürfte von seiner eigenen jeweiligen Position als Bürger von Nürnberg oder einer anderen Stadt, Humanist, Lutheraner, Grundbesitzer mitbestimmt worden sein. Die 'Multifunhtionalität' der Baucrnsatire, auf die vor mir schon Hessel Miedema und Paul Vandenbroeck hingewiesen haben,2 d.h. die gesellschaftliche Differenziertheit der Rezeptionsweise, der die Holzschnitte sichtlich Rechnung tragen, darf nicht außer Betracht bleiben. In Kapitel 4 legt Moxey die erste kunsthistorische Untersuchung der zahlreichen Darstellungen von Landsknechten im Nürnberger Holzschnitt vor. Ausgangspunkt ist Erhard Schöns großformatiger 'Zug der Landsknechte' (um 1532, Geisberg 1226-1234), den Moxey als Heroisierung der kaiserlichen Militärmacht und damit als Nümberger Propaganda für die kaiserliche Politik deutet. Aktueller Anlaß ist die Türkengefahr mit der Belagerung Wiens 1532. Dies ist eine begründete, aber nicht in jeder Hinsicht überzeugende Hypothese. In den Serien einzelner Landsknechts-Figurcn van Schön (Geisberg 1981ff) und Hans Sebald Beham (Geisberg 273ff) weisen beigegebene Texte wiederholt darauf hin, daß es sich um Teilnehmer an kaiserlichen Feldzügen handelt. Im 'Zug der Landsknechte' wird zwar eine burgundischhabsburgische Fahne entrollt, aber der Text von Hans Sachs läßt den Hauptmann an der Spitze des Zuges ausdrücklich sagen: 'Die Landsknecht ich byn nemcn an/Eynem Herren hie ungemelt', was angesichts der von Moxey vermuteten pro-kaiserlichen Propaganda zumindest erklärungsbedürftig ist. Den werbenden und heroisierenden Drucken stellt Moxey eine größere Zahl von Holzschnitten gegenüber, die nicht von den Leistungen, Ansprüchen und Verdiensten der Söldner, sondern von den negativen Aspekten des Landsknechtslebens und -charakters handeln. Todesbedrohung, Sittenlosigkeit, Aggressivität und Abkehr von ehrlichem Erwerb aus Gier nach schnellem Geld werden teils anklagend teils satirisch thematisiert. Diese Gespaltenheit des Bildes vom Landsknecht in verschiedenen Drucken derselben Verleger nach Vorlagen derselben Zeichner wird mit einer widersprüchlichen Einstellung zum Krieg und mit Luthers eschatologischer Deutung der Türkengefahr als 'Gottesgeißel' in Verbindung gebracht. Der Landsknecht erscheint einerseits als 'Mittel der Bekräftigung kaiserlicher Macht angesichts einer nationalen Bedrohung', anderseits als 'Mittel der Ermahnung, daß die Türkeninvasion eher eine moralische als eine militärische Notlage darstellt, und daß physische Gewalt das ungeeignete und unangemessene Mittel der Auseinandersetzung mit einer Züchtigung Gottes ist.' Den entscheidenden Beleg für diese Deutung findet Moxey in Erhard Schöns 'Landsknechtstroß vom Tod begleitet'. Die Hure am Arm des Fähnrichs und der Hahn auf dem Trainwagen bezeichnen die sexuelle Zügellosigkeit der Landsknechte, gefangene Türken und straffällige Söldner marschieren gefesselt hintereinander. Der neben dem Trainwagen reitende Tod mit erhobenem Stundenglas wird von zwei Skeletten begleitet, von denen eines als Landsknecht, das andere als Türke gekleidet ist. Moxey: 'Durch das Auslöschen der Unterschiede zwischen Türkc und Landsknecht leugnet der Tod die heroischen Eigenschaften, die dem Söldner in Werken wie 'Der Zug der Landshnechte' zugeschrieben werden. In diesem Zusammenhang erscheint die kaiserliche Sache nicht wertvoller als die der Feinde.' Einer Verallgemeinerung dieser Deutung und ihrer Übertragung auf die anderen negativen Landsknechtsdarstellungen ist cntgegenzuhalten, daß es in diesen keinerlei Anspielungen auf die Türken gibt. Das gilt insbesondere für einen 'Troß'-Holzschnitt des Hans Sebald Beham (Geisberg 269-272), der um 1530, d.h. vor Schöns 'Troß vom Tod begleitet' entstanden sein dürfte und mit diesem das Vorbild von Albrecht Altdorfers 'Troß' aus dem 'Triumphzug Kaiser Maximilians I.' teilt. Behams 'Troß' steht unter dem Kommando eines 'Hurnbawel' (Hurenwaibel), der den von einem Boten überbrachten Befehl zum Halten angesichts einer kommenden Schlacht weitergibt. Der Troß aus Karren und Weibern, begleitet von unheroischen, degeneriert aussehenden Landsknechten oder Troßbuben, führt vor allem Fässer, Flaschen und Geflügel mit. Die Fahne wird von einem Hahn als dem bedeutungsträchtigen Feldzeichen dieses zuchtlosen und lächerlichem Haufens überragt. Moxey hat diesen Holzschnitt nicht berücksichtigt. Mein Eindruck ist, daß eine religiös oder ethisch motivierte ambivalente Einstellung zur Kriegführung im Allgemeinen oder zum Türkenkrieg im Besonderen nicht die Gegensätzlichkeit des Landsknechtsbildes erklären kann. Ich sehe vielmehr eine Parallele zu dem ähnlich gespaltenen Bild vom Bauern in positive Ständevertreter und satirische Vertreter 'grober' bäurischer Sitten. Bei den Landsknechtsdarstellungen kann man zwischen werbenden und propagandistischen Bildern heroischer Streiter für die kaiserliche Sache und kritisch-satirischen Darstellungen der sittlichen Verkommenheit der Soldateska und der sozial schädlichen Attraktivität des Söldnerwesens für arme Handwerker unterscheiden. Kapitel 5 ('The Battle of the Sexes and the World Upside Down') behandelt eine Reihe von Drucken, welche die Herrschaft des Mannes über die Frau und die Pflicht des Mannes, diese Herrschaft durchzusetzen, zum Gegenstand haben. Die Fülle solcher Drucke im Nürnberg der Reformationszeit und die Brutalität, die den Männern empfohlen wird, erlauben es nicht, hier bloß eine Fortsetzung mittelalterlicher Traditionen frauenfeindlicher Satire zu sehen. Moxey erkennt die Ursachen für die besondere Aktualität und Schärfe dieser Bilder in den demographischen und sozialen Verhältnissen Nürnbergs (Verdrängung der Frauen aus dem Erwerbsleben im Zuge verschärfter Konkurrenzbedingungen) und im Einfluß der lutherischen Ehelehre. Die Familie wird als Keimzelle des Staates aufgefaßt, die Sicherung familiärer Herrschaftsstrukturen gilt als Voraussetzung für das Funktionieren staatlicher Autorität und ist daher Christenpflicht. Dieser Beitrag ist eine wertvolle Ergänzung der Untersuchungen zur Ikonologie des bürgerlichen Familienlebens in reformierten Ländern des 16. und 17. Jahrhunderts, die sich bisher auf die Niederlande konzentriert hatten.3 Die abschließenden 'Conclusions' versuchen, aus diesen Ergebnissen eine präzisere Charakterisierung der medialen Qualitäten Nürnberger Holzschnitte zu gewinnen. Ihr 'schlichter Stil' oder 'Modus' folgt aus einer bewußten Reduzierung der formalen Mittel der Graphik und ermöglicht eine Unterordnung des Bildes unter den Text. Einblattdrucke und Flugblätter stehen den Inkunabelillustrationen nahe, bei denen die 'Lesbarkeit' des Bildes die dominierende Form von Anschaulichkeit ist. Mit Norman Bryson spricht Moxey von 'diskursiven' Bildern, die keinen Anspruch auf künstlerischen Eigenwert machen und deren Informationsgehalt einseitig auf den Text bezogen ist. Die Reduktionen der formalen Mittel, d.h. die Verkürzung der Information verlangt von Betrachter die Auffüllung mit Bedeutungen, die dem Text oder - in dessen Abwesenheit - 'Zeichensvstemen anderer Ordnung', z.B. Fastnachtspielen zu entnehmen sind. Eine charakteristische Sonderform ist die Rcihung von einzelnen, relativ gleichförmigen Bildern zu Serien, zu einer friesartigen Gesamtkomposition. Moxey erklärt dieses Prinzip mit der Vorbildhaftigkeit der Riesenholzschnitte für Kaiser Maxmilian I., in denen Redundanz als Mittel propagandistischer Wirkungssteigerung fungiert. Dies scheint mir zu kurz gegriffen, den gcrade in Nürnberg dürfte die literarische und dramatische Form des 'Reihenspiels' (die einzelnen Darsteller treten wie in einer Rev ue nacheinander vor und sprechen ihren Text) ein noch wiehtigerer Ausgangspunkt gewesen sein, zumal diese literarische Form auch in den Texten vieler Einblattdrucke angewendet wird, vor allem von Hans Sachs. Der 'schlichte Stil' oder Modus läßt viel mehr Abstufungen und Variationen zu, als Moxey's 'Conclusions' zu erkennen geben. In Holzschnitten wie Hans Sebald Behams 'Großes Bauernfest' liegt eine komplexe Darstellungsweise vor, die die Bezeichnung 'schlicht' kaum mehr verdient. Moxey's Unterscheidung in einen lesbaren Vordergrund und einen 'malerischen' Hintergrund ist unangemessen. Ich gebe zu bedenken, daß durch das Wirken Dürers dem Nürnberger Holzschnitt auch spezifisch künstlerische Maßstäbe eröffnet worden sind. Dürer schreibt in seiner 'seltzame red' ausdrücklich, 'das manicher etwas mit der federn in eine tag auff ein halben bogen papirs reyst oder mit seim eyrsellein etwas in ein klein hoeltzlein versticht, daz wuert kuenstlicher und besser dann eins ändern grosses werck.'4 Unter Dürers Einfluß hat der Nürnberger Holzschnitt sich die Möglichkeiten des perspektivisch organisierten Bildraumes erschlossen. Das bedeutet, daß neben das herkömmliche Anschaulichkeitprinzip der 'Lesbarkeit' von Motiven, die auf einer Bildebene aufgereiht sind, das neue Anschaulichkeitprinzip der Perspektivität tritt, die nach den Begriffen der humanistischen Kunstlehre dem rhetorischen Ideal der 'perspicuitas' entspricht. Auch wenn die Einblattholzschnitte nur zu einem Teil und sichtlich unentschieden von dieser neuen Bildform Gebrauch machen, so steht doch fest: der 'schlichte Stil' läßt Veränderungen und Entwicklungen zu, in denen Raum für spezifisch künstlerische Faktoren ist. Moxey's Verzicht auf spezifisch kunsthistorische Fragestellungen enthält die Gefahr einer Verengung des Blickwinkels. Auch seine Einschätzung der bloß dienenden Rolle des Bildes gegenüber dem Text erscheint differenzierungsbedürftig. Indem die knappen und reduzierten Angaben des Bildes den Betrachter dazu veranlassen, sie mit Textinformationen aufzufüllen und zu ergänzen, wächst dem Bild eine aktive Rolle zu: es organisiert und strukturiert die Lektüre des Texts. Im Einblattdruck 'Zwölf Eigenschaften eines boshaften und verruchten Weibes' (Moxey Abb.5.16) zählt der Text von Hans Sachs auf: Vernachlässigung von Haushalt und Kindern, Naschhaftigkeit, Verlogenheit, Putz-sucht, Stolz, Streitsucht, Ungehorsam, Gewalt gegen den Ehe-mann, Verweigerung der ehelichen Pflicht, Ehebruch und schließlich Verleumdung des Ehemannes bei Gericht. Erhard Schöns Holzschnitt zeigt in der Öffnung der beiden Häuser die Punkte I und 12 der Anklage, unordentlichen Haushalt und Verleumdung vor Gericht. Im Vordergrund ist der gewalttätige Streit dargestellt, der das Zerbrechen der ehelichen Gemeinschaft und der familiären Ordnung offenbar eindeutiger zeigt als etwa der Ehebruch. Das Bild illustriert folglich nicht nur, es interpretiert und akzentuiert. Diese aktive Rolle des Bildes gegenüber dem Text ist eine bedeutende Funktionserweiterung des illustrativen Holzschnitts, als deren Erfinder wohl Sebastian Brant zu gelten hat.5 Nach Moxey's Überzeugung 'artilculiert' das in den Nürnberger Holzschnitten entwichelte 'kulturelle Zeichensystem' Vorstellungcn von gesellschaftlichen Beziehungen und Wertmaßstäben, die zutiefst von Luthers Soziallehre geprägt sind und als Maßgaben eines göttlichen Gebotes unverrückbar festgeschrieben und verteidigt werden. Es war im Interesse des Patriziats, diese Stabilität bei allen Bevölkerungsschichten durchzusetzen, und dabei spielten die Einblattdrucke und Holzschnitte eine aktive, gestaltende Rolle. Trotz mancher Einwände im Einzelnen glaube ich, daß diese Deutung grundsätzliche Zustimmung verdient.

William Pether (1739–1821) was a painter and skilled draftsman, whose abilities led to his becoming a master of engraving in the mezzotint technique—his prints reproducing works not only by the Dutch masters, such as Rembrandt van Rijn and his pupils Gerrard Dou and Willem Drost, but also by English artists such as Joseph Wright of Derby, Edward Penny, and Richard Hurlstone. An eminent British mezzotint engraver, he was also an underrated painter of miniatures. His artistic activity in this domain has been overlooked by scholars, who have focused on his print production; this study considers all extant miniatures produced by the artist during the period 1760–1820. The aim of this article is to present as many as possible known miniatures painted by this artist and to determine their proper attribution and dates through the use of stylistic analysis, the graphical-comparative method and handwriting research using available works of art and archival materials in the form of letters written by Pether.

Este ensayo es producto de una investigación en el campo de la teoría e historia del arte y se concentra en el análisis de la pintura inédita Escena de dormitorio (c.1985-86) del destacado escritor y pintor chileno Adolfo Couve Rioseco (1940-1998). La obra salió a la luz en 2021, y su estudio no solo permite abordar problemas relativos a autoría, data, técnica y gestos pictóricos, sino también comentar los espacios domésticos y las relaciones familiares del autor. Sobre todo, permite profundizar en sus filiaciones visuales; en este caso puntual, su interés por óleos tales como Jeremías lamentando la destrucción de Jerusalén (1630) de Rembrandt van Rijn; una de las cuatro versiones de El muchacho del chaleco rojo (c.1889-90) de Paul Cézanne, y las naturalezas muertas del italiano Giorgio Morandi, a partir de los cuales probablemente Couve construyó el cuadro hasta ahora no documentado que aquí se somete a escrutinio.

Chiaroscuro dikenal sebagai salah satu prinsip pencahayaan dalam dunia seni rupa yang mulai berkembang pada masa Renaissance di abad ke-15 yang sangat mempertimbangkan gelap-terang jatuhan cahaya pada suatu objek untuk diaplikasikan pada karyanya. Old Master seperti Caravaggio, Leonardo da Vinci, dan Rembrandt van Rijn merupakan beberapa nama yang menerapkan prinsip ini pada lukisannya. Dalam sejarah perkembangannya, prinsip chiaroscuro ini diaplikasikan juga dalam seni cetak grafis oleh Caravaggio dan beberapa seniman lain yang berasal dari Jerman dan Italia. Selain metode multi-block yang umum digunakan untuk menghasilkan karya grafis berwarna, metode reduksi memiliki potensi untuk menghasilkan visual chiaroscuro pada karya seni grafis cetak tinggi cukil kayu salah satunya dikarenakan adanya relevansi antara penggunaan tingkatan kecerahan (nilai) warna pada karya chiaroscuro yang dapat dibuat dengan tingkatan lapisan cetak pada metode reduksi. Metode reduksi memungkinkan seniman untuk menghasilkan sejumlah tingkatan nilai warna yang berbeda dengan mengacu pada lapisan cahaya yang jatuh pada suatu objek sehingga kesan volume dan kedalaman yang dibuat pada karya seni grafis tersebut akan lebih terlihat. Pada penelitian ini penulis melakukan analisa prinsip pencahayaan chiaroscuro untuk kemudian diaplikasikan pada karya seni grafis cukil kayu dengan menggunakan metode reduksi. Sehingga pada akhirnya akan menghasilkan data analisis aspek teknis serta visual dari metode reduksi yang digunakan pada proses pembuatan karya seni grafis yang dapat menjadi bahan materi pengembangan dan eksplorasi karya maupun materi pembelajaran untuk disampaikan pada khalayak.

This article explore and analyses conformity to natural laws of individual interpretations of human emotions on a masterpieces of European artists from Antic age to early Modernism, also in Ukrainian painting (for instance, creative works of Olexander Murashko), The following examples are setting peculairities of creative positions of every author which reflected unusual mimic grimaces of his heroues in pickturesque portraits (especially at works of Antonello da Messina, Ercole de Roberti, Leonardo da Vinci, Frans Hals, Rembrandt Hannenszoon van Rijn, Mihaly Munkacsy, Ilya Repin, Edward Munk, with him legendary “Scream”, which paradoxally and repeatedly reflected in horror movie-art about twenty years ago — in the trilogy by Wes Craven) and Old Greek sculptures (“Athena and Marsyas”, “Laokoon”). Also the author of this article analyzed different views of representatives of classical philosophy and aesthetics of Age of Renassainse (Karol van Mander, Giorgio Vasari), Baroque, Classicism (Charles Lebrun) and Age of Education (Denis Diderot as author of “Salones”, Johann Joachim Winckelman, Johann Caspar Lavater — in recollection of Nikolay Karamzin), also used classic and modem famous historicals of fine art (Egene Fromentin, Bernard Berenson, Georgiy Nedoshivin) and contemporary scientists, which a lot of researched this problems (Giovanni Chivardi, Fritz Lange) etc. Author used pointed mimetic observations of some Ukrainian (from “Portrait” by Nikolay Gogol to short-story by Yuriy Mulik-Lutsik and great novel by Natalka Snyadanko) and foreign writers (Denis Diderot as author of “Le Neveu de Rameau”, Dafna du Maurier, Nikolay Chukovskiy), memories of Ukrainian painters (Mikola Burachek). Some materials from the recent history of those states were introduced into scientific usage. Review of need for inclusion of approaches and methods related to the fields of art criticism studies (par example, psychology, history of movie-art, mythology, philosophy), and certain concepts. An attempt to understand the problem of mimetic expressiveness in fine art.

Critical thinking, reflection, multiple methods of researching need a preparation, discipline, training. Classical forms as lectures, seminars don’t response of contemporaries challenges, because of a subject-object installation between a lecturer and students. It’s impossible to create researching atmosphere at an auditorium. The aim of the article is clarification of conditions of creating of workshop as a form of existing of philosophy in higher education.Workshop as a specific pedagogical form isn’t something principal new thing. Pedagogic measurement is a fundamental component of workshops of painters (for example, workshops of Rembrandt van Rijn, Jan Vermeer van Delft etc.). Something like that we can observe in theatrical workshops.In 1922 was created French Group of New Education (J. Piaget, H. Wallon, P. Langevin etc.). They rethought ideas of J.-J. Rousseau, I. Pestalozzi, J. Korczak, A. Makarenko etc. and formulated six rules of pedagogic workshop: a) active position of a teacher and students; b) priority of autonomy during education; c) confidence of every student’s talent; d) using of critical thinking; e) intersubjective character of thinking; f) accuracy of calculation of psychological statesю.I’ve proposed seven components of a philosophical workshop. The first is informative that consists of two aspects: a) topological – a philosophical workshop as a communicative space; b) technological – a philosophical workshop as a developing skills and proficiencies. The second is a historical component that includes: a) foundation of our university; b) personal roots of our philosophical workshop (V. Karpov – a founder of our department of philosophy and the first rector of the same time, G. Zajchenko – the first doctor of philosophical sciences); c) opening of specialized academic council in 1992 by P. Gnatenko; d) opening a branch ‘philosophy’ in our university. The third component is developing of three fundamental humanitarian practices – speaking, reading, writing. The fourth component is methodological as familiarization of classical (analyses, synthesis, observing, describing etc.), non-classical (hermeneutics, structuralism etc.), post-non-classic (synergic) methodologies. The fifth is organizing component – priority of communicative-praxeological approach under lectures. The sixth component is communicative as forming of creative atmosphere during class. And the last – theoretical component as possibility of creating of own metaphysics.

The subject of the research is the developments of the modern Ukrainian artist Evgeniya Gapchinskaya, who is now successfully working in various fields of art and design, ranging from jewelry and book graphics to monumental mural art. The purpose of the work is to investigate the specifics of the artistic language of the named artist in the context of the development of modern mass culture. The methodology of the work is based on a combination of chronological and the principle of scientific comprehensiveness, art history, design and culturological approaches, ontological, axiological, hermeneutic, historical-comparative, cross-cultural and art history analysis methods. The results of the work allow us to understand the secrets of E. Gapchinskaya's success in the field of contemporary art and design. The scope of application of the results – artistic and design practices of the present, history, theory and criticism of art, teaching activities for students and graduate students of creative specialties. Findings. It was found that the artistic language of Yevhenia Gapchinskaya was formed under the influence of Ukrainian and German artistic traditions. Taking into account the one-year internship in Nuremberg at the beginning of the formation of the artistic language, the author was inspired in her artistic searches by the impulses of the high art of the Northern Renaissance and mannerism. In particular, the work of I. Bosch and P. P. Bruegel the Elder (Peasant), whose phantasmagoric language still has a significant impact on the work of young European artists. Also, the formation of the artistic originality of Evgenia Gapchinskaya's handwriting was significantly influenced by the Dutch and Flemish art of the 17th – 18th centuries, headed by Frans Halls and Rembrandt van Rijn, and individual searches for Baroque-Rococo artists from other European countries – J. B. Greuze and T. Gainsborough. In general, the specific artistic and figurative manner of E. Gapchinskaya was influenced by the artist's appeal to related areas of knowledge – nail design, creative work with plastic, environmental design, advertising, image-making, art gallery business, restoration, art management, marketing, logistics and the like.Key words: artistic manner of creativity, Evgeniya Gapchinskaya, Ukraine, the beginning of the XXI century.

Michael Lucas Leopold Willmann (1630–1706) was born in Königsberg (now Kalinin grad in Russia), where his first teacher was Christian Peter, a well -off guild painter. After years of journeys of apprenticeship and learning in the Netherlands, the young artist returned to his homeland, after Matthias Czwiczek’s death in 1654 probably hoping for the position of the painter at the court of Great Elector Frederick William (1620–1688).What served to draw the ruler’s attention to himself was probably the lost painting, described by Johann Joachim von Sandrart as follows: ‘the Vulcan with his cyclops makes armour for Mars and a shield and a spear for Minerva’. The failure of these efforts led the future ‘Apelles’ to emigrate to Silesia, where he created a family painting workshop in Lubiąż (Leubus), and following the conversion from Calvinism to Catholicism, he became a Cistercian painter, creating famous works of art in religious or secular centres of Crown Bohemia. What connects him to Prussia is another painting of great importance in his career, the little -known ‘Apotheosis of the Great Elector as a Guardian of Arts’ from 1682. The successor to Great Elector Frederick III (1657–1713) was crowned in 1701 as the ‘king of Prussia’. The ceremony required an appropriate artistic setting, which prompted many artists to flock to Königsberg, including a Dutchman from Leiden, the painter Justus Bentum, a pupil of Gottfred Schalken, who reached the capital of the new kingdom together with his son Philip Christian. After studying from his father, Philip Christian Bentum (ok. 1690 – po 1757) followed in the footsteps of the famous Willmann, and went on a journey, from which he never returned to Prussia. He went first to imperial Prague, where he collaborated with Peter Brandl and converted to Catholicism, following which he travelled to Silesia. After 1731, he took part in the artistic projects of Bishop Franz Ludwig von Pfalz–Neuburg of Wrocław (Breslau) and Abbot Constantin Beyer, who completed the project begun by Freiberger and Willmann: the extension and decoration of the Cistercian Abbey in Lubiąż. It was there that he made the largest in Europe canvas -painted oil plafond of the Prince’s Hall and completed his opus magnum: covering all the library walls and vaults with painting. Those pro -Habsburg works were finished two years before the death of Emperor Charles VI (1685–1740) and the military invasion of Silesia by Frederick II Hohenzollern (1712–1786), great - -grandson of the Great Elector. The fate of the artists mentioned in the title was intertwined with Königsberg and Lubiąż. Both converts set off for the professional maturity from the Prussian capital via Prague to Silesia. They can be compared by the Dutch sources of their art and a compilation method of creating images using print ‘prototypes’. Their inner discrepancy can be seen in the choice of these patterns, as they followed both the Catholic Rubens and the Protestant Rembrandt Van Rijn. They were connected with the provinces playing a key role in Central -European politics: here the Hohenzollerns competed for power in Central Europe with the Habsburgs. They were witnessesto the game for winning Silesia, and even took part in it by creating propagandistic art. Both of them worked for Bishop Franz Ludwig von Pfalz–Neuburg (1664–1732), associated with the Emperor, a kind of the capo di tutti capi of the Counter -Reformation in Silesia. Bentum eagerly imitated selected compositions of his predecessor and master from Lubiąż, and I think he even tried to surpass him in scale and precision. The artistic competition with Willman is visible in the paintings of the library in Lubiąż. There, he presented an Allegory of Painting, which shows the image of Willmann carried by an angel, while the inscription praising the qualities of his character calls him ‘Apelles’. The work of both painters, who took their first steps in the profession as Protestants in Königsberg, but became famous through their work for Catholics, provides an interesting material for the analysis of the general topic of artistic careers on the periphery of Europe, the relationship between the centres and the periphery, as well as for two stages of re -Catholisation in Silesia treated as an instrument of power. It was usually pointed out how much separates the two painters, but no one has ever tried to show what unites them. The comparison of the sources, motifs, and outstanding achievements of both of them, especially in Lubiąż, gives a more complete picture of their activity deeply immersed in the politics of their times. This picture is not as unambiguous as it has been so far, highlighting the political and propaganda aspects of their career spreading out between the coastal Protestant north and the Catholic south. The drama of their lives took place in Silesia, where the multiple dividing lines of Europe intersected. The idea of narrating the parallel fates of two artists with great Politics in the background (as in he case of Plutarch’s ‘Parallel Lives’) came to my mind years ago when I curated the Exhibition ‘Willmann – Drawings. A Baroque Artist’s Workshop’ (2001, National Museum in Wrocław, in cooperation with Salzburg and Stuttgart). The present paper was to be included in the volume accompanying that project initiated by Andrzej Kozieł (Willmann and Others. Painting, Drawing and Graphic Arts in Silesia and Neighbouring Countries in the Seventeenth and Eighteenth Centuries, ed. A. Kozieł, B. Lejman, Wrocław 2002), but I withdrew from its publication. I am hereby publishing it, thanking Małgorzata Omilanowska for her presence at the opening of this first great exhibition of mine in 2001, as well for the excellent cooperation with my Austrian, Czech, German, and Polish colleagues. This text, referring to the topic of our discussions at the time – as on the event of the above -mentioned exhibition I spoke at a press conference in Stuttgart’s Staatsgalerie, where the curator of the German exhibition was Hans Martin Kaulbach, exactly two days after the attack on WTC.

La producción y el contexto del pintor holandés Rembrandt Harmenszoon van Rijn, permite un análisis de diversos cambios en las concepciones de la subjetividad y el cuerpo que se dan en el mundo europeo a comienzos del siglo XVII. A través de las llamadas lecciones de anatomía y sus autorretratos, Rembrandt da cuenta de la racionalización, la aparición del individuo y objetivación de la corporalidad: de un cuerpo unido a la comunidad en la Edad Media, a la representación en la Modernidad de un cuerpo como un objeto inerte; del sujeto comunitario a la percepción del sujeto como unidad.

La producción y el contexto del pintor holandés Rembrandt Harmenszoon van Rijn, permite un análisis de diversos cambios en las concepciones de la subjetividad y el cuerpo que se dan en el mundo europeo a comienzos del siglo XVII. A través de las llamadas lecciones de anatomía y sus autorretratos, Rembrandt da cuenta de la racionalización, la aparición del individuo y objetivación de la corporalidad: de un cuerpo unido a la comunidad en la Edad Media, a la representación en la Modernidad de un cuerpo como un objeto inerte; del sujeto comunitario a la percepción del sujeto como unidad.

Classical compositions, such as those of Claude Lorrain (1600–1680), show balanced situations where the depicted objects seem to represent beauty – they appear to exist in an ideal order; they seem right, once and for all. They allow their viewers, who live in a contingent world, believe that unity and beauty are attainable. English landscape gardens in the eighteenth century offered viewers the experience of moving in real settings that seem to reproduce the canvasses of classical landscape painting. Contemporary visitors know this is an imitation; they appreciate that this is not everyday reality but a kind of realized utopia. Artworks such as the early ones by Rembrandt Harmenszoon van Rijn (1606–1669) and those from the nineteenth century onwards (Paul Cézanne, Claude Monet), make us understand that a final rightness is not possible; that it is only possible to try again and again to attain the real – without ever arriving at the one right solution. In their endeavour to depict reality, these artists engage in a serial elaboration of the same subjects and objects of their art. These series of nearly the same subjects invoke the impossibility of getting it right once and for all. Piet Mondrian illustrates the development from seriality, as repeated attempts to depict the same with a difference, to the practice of seriality as an experiment in symmetry and balance that both goes back to Claude Lorrain and modernizes the concept of the ideal for application to abstract art. In contemporary art after the Second World War serial structures in single artworks were common, thus superseding compositions with their discredited promise of ideality. Series occurred not only in the contemporary visual arts, but also in literature, music and in the theatre. The repetitive structures of Minimal Art offer to the beholder the possibility of experiencing ‘reality’ in an age of media and fakes. My example will be the repetitive structures of Christian Boltanskiʼs oeuvre which provides an opportunity to reflect on the similarity and difference of people in contemporary democracies. My main argument is therefore that the change from composition to seriality corresponds to historical change.

Identifying, comparing, and matching watermarks in pre-machine-made papers has occupied scholars of prints and drawings for some time. One popular but arduous approach is to overlay, either manually or digitally, an image of the watermark in question with its presumed match from a known source. For example, a newly discovered watermark in a Rembrandt print might be compared to a similar one reproduced in Erik Hinterding’s Rembrandt as an Etcher (2006). Such an overlay can confirm the pair as identical, i.e., as moldmates, or reveal their differences. But creating an accurate overlay for two images with different scales, orientations, or resolutions using standard image-manipulation tools can be time consuming and, ultimately, unsuccessful. Part One of this article describes advances in the emerging field of computational art history, specifically the development of digital image processing software, that can be used to semi-automatically create a reliable animated overlay of two watermarks, regardless of their relative “comparability.” Watermarks found in the prints of Rembrandt van Rijn (1606–1669) are used in three case studies to demonstrate the efficacy of user-generated overlay videos. Part Two discusses how searching for identical watermarks, i.e., moldmates, can be enhanced through the application of a new suite of software programs that exploit the data calculated during the creation of user-generated animated overlays. This novel watermark identification procedure allows for rapid, confident watermark searches with minimal user effort, given the existence of a pre-marked library of watermarks. Using a pre-marked library of Foolscap with Five-Pointed Collar watermarks, four case studies present different categories of previously undocumented matches 1) among Rembrandt’s prints; 2) between prints by Rembrandt and another artist, in this case Jan Gillisz van Vliet (1600/10–1668); and 3) between selected Rembrandt prints and contemporaneous Dutch historical documents.

Rembrandt van Rijn (1606–1669), the Dutch painter, printmaker and portraitist, is frequently listed as being among the greatest of all visual artists. His portraits, in addition to their undeniable technical virtuosity, seem to be illuminated by an extraordinary light that evokes a spiritual dimension. This article explores what can be extrapolated from Rembrandt’s empathetic portraiture with a view to positively impacting the spiritual care encounter. It describes Rembrandt’s ongoing process of introspection and his concomitant ability to bear witness to his sitters, as evidenced by his compassionate portrayals of their vulnerable humanity. A contemporary insight into the empathetic reading of faces, as reflected in portraiture, is demonstrated through a comparative analysis of several portraits from the 2020 “Portraits for NHS Heroes” project during the COVID-19 epidemic.

La presente investigación estudia un punto de encuentro entre el cine y la pintura mediante la representación del tableau vivant en el filme La ronda de noche (Nightwatching, 2007) de Peter Greenaway en relación con el óleo La ronda de noche (Nachwacht, 1642) de Rembrandt van Rijn, con el objetivo de visualizar la configuración de una propuesta estética novedosa en el campo cinematográfico a partir del trasvase de una pieza pictórica hacia el cine, a través de un proceso de cinematización; en dicho proceso, el cine adopta otro tipo de arte, en este caso, la pintura. Para abordar esta relación, se toman como referencia dos conceptos que intervienen directamente en la película La ronda de noche y que denotan el carácter pictórico incorporado en el espacio fílmico para hacer efectivo el tableau vivant; uno de ellos es la temporalidad pictórica y el otro término es el de efecto pintado, mediante los cuales, cinematografía y pintura, fundidas en un plano intermedial, logran un trabajo fílmico novedoso e interdisciplinario.

Representar a figura de “Mendigos” se constitui em uma forma de pensar e produzir artisticamente algo que seja uma imagem acordada com a cotidiana realidade, contextos sociais e artísticos e por questões poéticas podendo inclusive envolver aspectos particulares da vida do artista e desses grupos sociais que vivem em indigência ou mendicância material que se relacionam a condição de habitantes andarilhos, maltrapilhos, “sem teto” ou “sem abrigo”. Os processos, a tecnologia, a materialidade, a linguagem escolhida pelos artistas e as diferentes maneiras de “dar a ver” essa vulnerabilidade social desde remotos tempos na linha histórica da arte mostram que a temática em torno dessa condição social não se esgota. Neste trabalho apresentamos algumas obras dos artistas Vincent Van Gogh, El Greco, Pieter Brughel, Bartolomé Esteban Murillo, Rembrandt Van Rijn, Pablo Picasso, Francisco de Goya y Lucientes, Honoré-Victorien Daumier, Lasar Segal, Diego Rivera e Dorothea Lange. Podemos observar que a vulnerabilidade e condição de risco social estão relacionadas a construção estética dos mendigos, proporcionando que sejamos capazes de observa-los através da historia da arte como figuras urbanas marginalizadas, relacionadas a um contexto de exclusão, marginalização ou indigência social por razões socioeconômicas e que transitavam e transitam próximos a centros urbanos. Desta forma, o artigo tem por objetivo mostrar esta temática associada também a produção de artistas contemporâneos como Mathieu Pernot e Francys Allys, revelando um outro sujeito que mendiga e que é classificado como “PESSOA EM SITUAÇÃO DE RUA” valendo destas figuras como elementos visuais que intrigam e provocam dentro de um contexto de descompromisso e insalubridade.

In this article, we discuss Badiou’s concept of the world through the somewhat unusual metaphor of “the anatomy of the world”. The anatomy of the world allows us to approach the concept of the world through the idea of ​​its constitution, architecture, structure – its anatomy. But as we show in the first part of the text, in order to derive the anatomy of the world, we need a corpse of the world – the world must die. Following the philosophy of Alain Badiou, we demonstrate that the world in its objective existence is indifferent to the question of life and death. Whether the world lives or dies depends only on the realisation of the truth procedures in the world on the basis of which the world is subjectivised. The world suffers from mortifying impulses, as the reactive and obscure forms of subjectivity actively work against the realisation of truths in the world. Through the artistic presentations of anatomy by Rembrandt van Rijn and John Donne, we also elaborate the tense relationship between the corpse of the world (from the perspective of the scientific procedure of truth) and the life of the world (from the perspective of the artistic procedure of truth). Although art often sees science as something that kills the world, our final point is that the world can also come to life through science.