Rembrandt and the female nude-Rembrandt - The Complete Works - A Seated Female Nude -

Rembrandt and the Female Nude. Amsterdam: Amsterdam University Press, ISBN: —90———7. In his Susannah and the Elders The Hague, Mauritshuis Rembrandt presents to the viewer a strongly-lit nude who appears to shield herself from the intrusion of our gaze with hasty and awkward gestures while confronting us with her own disquieting gaze. This painting, a detail of which is reproduced on the cover of Eric Jan Sluijter's book, exemplifies Rembrandt's inventive engagement with Italian and Netherlandish pictorial traditions shaping the representation of the female nude in order to produce images that were, as Sluijter argues, controversial in Rembrandt's own day.

Rembrandt and the female nude

Built on the Johns Hopkins Femsle Campus. Institutional Rembrant. For Rembrandt, the specific context of sub-ject matter in which the nude figure functioned, with all its emotional, moral, and erotic connotations, deter-mined Latex clown noses nature and the effect of the nude. In his Andromeda Rembrandt had the opportunity to do the same while focusing on a sin-gle figure only, evoking the whole episode in the image of this one frightened girl. Sleeping Woman Approached by a Satyr. Sign up now.

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Bathsheba the sense of sight and the depiction of beauty. Susanna and the Elders I We are bothered because the various parts of the body cannot be perceived as simple units and have no clear relationship to one another. I agree to terms and conditions. Some paintings of Bathsheba of Rembrandt and the female nude s and s by Rembrandts colleagues. Rendered with a swift treatment by brush and the blunt reed pen favored by the artist in his late Public private place canadian law, this ample figure projects a forceful presence. Explore Further. Oil painting ans Rembrandt. Gerasimov group leaderA. There was no letter in her hand in the original conception, [12] and it is also possible that her lap, thighs, and right arm Rembrantd once draped. Washington, D. Around her rests a thickly painted background of white Rembrandy set Rembrajdt this her naked flesh stands out for its solid form and the sumptuous application of paint. Wood, Teri J. Rembrandt van Rijn Dutch, The vague image it projects into the Rembrandt and the female nude is not of a huddled and defenseless body, but of a balanced, prosperous, and confident body: the body re-formed.

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  • But they also elicited vehement criticism when first shown, described as against-the-grain, anticlassical—even ugly and unpleasant.
  • This painting depicts the mythical character of Danae, welcoming Zeus into her bed, and who later bore his son, Perseus.
  • A depiction that is both sensual and empathetic, it shows a moment from the Old Testament story in which King David sees Bathsheba bathing and, entranced, seduces and impregnates her.
  • Rembrandt van Rijn Dutch,
  • .

Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. But they also elicited vehement criticism when first shown, described as against-the-grain, anticlassical—even ugly and unpleasant.

However, Rembrandt chose conventional subjects, kept close to time-honored pictorial schemes, and was well aware of the high prestige accorded to the depiction of the naked female body.

Why, then, do these works deviate so radically from the depictions of nude women by other artists? Get A Copy. Paperback , pages. Published March 21st by Amsterdam University Press. More Details Original Title. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Rembrandt and the Female Nude , please sign up.

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Retrieved April 29, The entire middle section of the painting was also dripping with a conglomeration of paint spots. This strong form is a late work, and one of only four extant drawings of the female nude attributed to Rembrandt with certainty. There was no letter in her hand in the original conception, [12] and it is also possible that her lap, thighs, and right arm were once draped. Studies from the nude model

Rembrandt and the female nude

Rembrandt and the female nude

Rembrandt and the female nude

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When he asked after her, he was told that she was Bathsheba, daughter of Eliam and wife of Uriah the Hittite. David had his messengers retrieve her, and after they slept together she became pregnant with his child. David was able to marry Bathsheba by sending Uriah into battle where he was killed. Prior to Bathsheba at Her Bath , the standard treatment had been to show Bathsheba bathing out of doors—thus accounting for her visibility to David—and accompanied by maidservants.

A tower could usually be seen in the distance, and perhaps a small figure of David, sometimes accompanied by his two courtiers. Such was the design Rembrandt's earlier The Toilet of Bathsheba , dated The work is painted as life sized and in a shallow space, with Bathsheba dominating the composition as she had in no other earlier version of the scene. Apart from the lack of anecdotal devices, the painting is unusual in other ways. Bathsheba is presented in a space that is difficult to read.

The dark background is suggestive of night, while a massive column implies a large architectural structure. Around her rests a thickly painted background of white chemise; set against this her naked flesh stands out for its solid form and the sumptuous application of paint.

Bathsheba at Her Bath is a reinterpretation of two antique reliefs familiar to Rembrandt through engravings. It might have been trimmed some ten centimeters at the left and at least 20 centimeters in height; It is speculated that Rembrandt cut the canvas himself in order to intensify the impact of the figure. There was no letter in her hand in the original conception, [12] and it is also possible that her lap, thighs, and right arm were once draped. Despite its classical references, the characterization of the figure is unconventional, and the depictions of her large stomach, hands and feet are derived from observation rather than respect for the idealised form.

The letter shown in her right hand contains a demand from David for her to choose between fidelity to her husband or obedience to her king, and is an anecdotal catalyst for her introspection. The traditionally accepted identification of the model is of Rembrandt's partner Hendrickje Stoffels , who would have been 28 at the time of the painting. Sluijter has proposed otherwise, stating that the likeness is of an ideal type used by Rembrandt over a long period.

The look of sorrow in the subject's face has been interpreted as evidence of Stoffels' illness and pregnancy she gave birth to a daughter in October , [23] Rembrandt's difficulties with the Church stemming from his cohabitation with Stoffels, and the artist's impending bankruptcy.

Allusions to Bathsheba at Her Bath have been noted in the works of 19th- and 20th-century artists. Similar in size and format, Bazille's work shares some of the mood of the Rembrandt: according to critic Dianne Pitman, "not the unfolding of a specific narrative but the interplay of sensual effect and solemnity, blending realistic intimacy and dignified remoteness". The painting and its attempted theft forms the subject of "This One Goes to Eleven", a third season episode of the Canadian television detective series Murdoch Mysteries.

II, pl. II, no. Joseph-Emile Muller, Rembrandt Paris, , pp. James N. Wood, Teri J. Dirk Bijker, Arent de Gelder, — Rembrandts laatste leering, exh.

New York, , pp. Wood and Debra N. Shelley Perlove and George S. Washington, D. Cambridge, Mass. Los Angeles, J. Explore Further. Email address Subscribe See all newsletters. From To.

Rembrandt and Female Nude - Eric Jan Sluijter

Slideshare uses cookies to improve functionality and performance, and to provide you with relevant advertising. If you continue browsing the site, you agree to the use of cookies on this website. See our User Agreement and Privacy Policy. See our Privacy Policy and User Agreement for details. Published on Nov 21, During the research for my dissertation on subjects from classical mythology in Dutch seventeenth-century painting, each time I was Preface and Acknowledgments faced with works by Rembrandt I experienced that, within the framework of my approach, there was so much more to say about his paintings than about the works of his colleagues Eric Jan Sluijter.

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Table of Contents Preface and Acknowledgments 9 i Introduction? Andromeda by Hendrick Goltzius and his circle? Rembrandt and Andromeda? A theatrical analogy? Rembrandt, Rubens, antiquity, and the passions: a case study?

Susanna in prints of the sixteenth century? Susanna in the early seventeenth century? Some other Amsterdam Susannas of c. Religious outrage? Moralizing disapproval? Erotic amusement? Playful erotic wit in images and texts? Paintings with nudes in private homes?

Jan de Bisschop and Joost van den Vondel? Giorgio Vasari and Karel van Mander? Karel van Mander continued? From Rome to Holland: debates in the first half of the seventeenth century? Joachim von Sandrart? Ketel, Wtewael, and Bloemaert? Imitation as part of the learning process and beyond? Artistic competition?

Sleeping Woman Approached by a Satyr? Cleopatra and Adam and Eve? Studies from the nude model, ? Jupiter and Antiope? Fictions about the artist and the nude female model?

Drawing after the nude female model? The pictorial tradition? Bathsheba, the sense of sight, and the depiction of beauty? The biblical Bathsheba? At a reception a colleague introduced me to a curator in modern art of a local museum and told him that I had just been appointed as assistant professor and was specializing in Dutch art of the early modern period.

I hastened to explain that I was not much interested in Rembrandt and was mainly engaged with late seven-teenth- century and eighteenth-century art these were indeed the areas I was in charge of at the rkd.

Perhaps I have always had the feeling that I had to make amends. It took a long time before I ventured to study the work of Rembrandt. For many years I did not dare to study an awe-inspiring figure like Rembrandt. However, during the research for my dissertation on subjects from classical mythology in Dutch seventeenth-century painting, each time I was 8.

This approach consisted in the first place of tracing pictorial traditions and iconographical con-ventions of those subjects, and of examining the ways in which artists were involved in a continuing dialogue with these traditions and conventions. It was then that I dis-covered the intensity and profoundness with which Rem-brandt sustained this dialogue. One of the chapters of the present book deals with this painting chapter v and expands on the research I did in the early s on this subject.

Because of several setbacks in the production of this book, the article, for which I did the research and wrote the text in , did not appear before , together with several highly divergent inter-pretations of this painting. Fi-nally, a request by Elmer Kolfin and Jeroen Janssen to give a keynote lecture at a conference on imitation, or- 9.

Preface and Aknowledgements 11 ganized in the spring of under the aegis of the Cen-ter for the Study of the Golden Age of the Universtiy of Amsterdam, compelled me to write a paper on seven-teenth- century views on rapen and emulation. This re-sulted not only in a publication in De Zeventiende Eeuw, but it was also the basis for chapter ix.

This chapter is still somewhat rhap-sodic — more research should be done on this subject — but it was necessary as a transition between the chapter on prints and drawings chapter x and the one on Bathsheba chapter xii.

In the end, the chapters — which were, in their present form, written in and publications that appeared in have not been incorporated — to-gether constitute a coherent and cumulative sequence. However, the chapters have been written in such a way that they can also be read as separate essays. I tried to take into account that, in practice, scholars rarely read a book from cover to cover. The consequence is that the reader will sometimes come across small overlaps, while often references to other chapters are included.

To translate such a book into English is never the easi-est part. The chapters vii and ix were entirely translated from the Dutch with her usual aplomb and exactitude by my favorite translator Diane Webb. Thus, these three successive chapters are consistent in their use of the English language and, in that respect, doubtlessly different from, and certainly much better than, the chapters i-vi and x-xii, which I wrote in English myself.

Naturally, I am not able to do that, which means that in the other nine chapters, lines of verse are translat-ed in prose. I am forever grate-ful for their immense help. However, especially time constraints — it takes a long time to get subsidies for translations — compelled me to do so.

Jacquelyn and Worth have kept me from making idiom-atic and grammatical mistakes and employing wrong words; they saw to it that it became a readable text, while I benefited greatly from their critical comments. Howev-er, the inevitable shortcomings of writing in another lan-guage — a more restricted vocabulary and a stilted style — are entirely due to my limitations.

I was able to do a large part of the research that found its way into this book in the second half of the s thanks to the support of nwo for the research program Pictorial Tradition and Meaning in Sixteenth- and Sev-enteenth- Century Netherlandish Art, which I, together with Reindert Falkenburg, supervised; during three years I received funding for replacement of part of my teaching load at Leiden University a task excellently pursued by Huigen Leeflang , so that I could devote myself to the de-piction of the female nude in Netherlandish art and to Rembrandt in particular, apart from the attention which, at that time, was also claimed by my growing interest in the relations between artistic and economic competition in the art market, which, however, left little traces in this book.

Many colleagues and students have contributed to the genesis of this book in some way or another. I am grateful for their support and comments.

Because of the long period over which parts of the research of this book were carried out — be-ginning with the work for my dissertation — many will not even remember that they contributed in any way.

Rembrandt and the female nude

Rembrandt and the female nude

Rembrandt and the female nude