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1

ON REMBRANDT'S 'LANDSCAPE WITH THE GOOD SAMARITAN' ONCE AGAIN (O Rembrandta 'Krajobrazie z milosiernym Samarytaninem')

100%
Dec D.
Rocznik Historii Sztuki
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2008
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vol. 33
53-64
EN
In 2003-2004 a painting by Rembrandt, the 'Landscape with the Good Samaritan' from the Czartoryski Museum at Krakow was cleansed which restored its former spatiality blurred by dirty varnish and revealed a series of details. On the occasion of the Rembrandt Year the picture was sent to the exhibition entitled 'Rembrandt's Landscapes' held at Stedelijk Museum de Lakenhal in Leiden, while at Krakow there was an exhibition-installation organised, consisting of the photographic enlargements of the whole painting and its details, called 'On the Way to Jericho'. The painting's clearing and the possibility to thoroughly analyse its enlargements made it possible to probe the world of this piece of art more deeply. Compared with the few preserved small individual oil landscapes by Rembrandt, the Kraków's painting distinguishes itself by a high level of drama and features some universal truths also about a man of our times. The evangelical figures are depicted not only 'in the background' of the landscape, but they also are related to this dramatic landscape in a well thought-out way. The artist refers to the known to him previous depictions of this motif in Netherlandic graphic art and painting, and makes use of certain means developed there. But the choice of the specific moment from Christ's parable of the Good Samaritan appearing in the Gospel of Luke was made in a very personal and individual way. Special attention merits the originality of uniting of the two men: the wounded and the Samaritan supporting him on the horse as in a one figure, a sign of mercy. Two elderly persons (and not young lovers) standing at the edge of a forest with scared faces must have witnessed the brutal robbery. In the painting we find several time layers: the Biblical one, contemporary to the artist (Dutch reality) and universal (the landscape of 'theatrum mundi' that can be a background for any event at any given time). The article concludes with the remarks on the interest in Rembrandt's works in Poland by the end of the 18th century and in the beginning of the 19th century, when the picture brought to Poland in 1774 by painter Jan Piotr Norblin landed in the Czartoryskis' collection, and the piece of information about the only know painting copy of this picture made at that time.
2

REMBRANDT'S MASTERLY CHIAROSCURO. DRAWINGS AND PRINTS EXHIBITIONS IN FRANCE, 2003-2007 (Mistrzowski swiatlocien Rembrandta. Wystawy rysunków i rycin w latach 2003-2007 we Francji)

100%
Chroscicki J. A.
Rocznik Historii Sztuki
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2008
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vol. 33
129-134
EN
The text surveys several most important exhibitions of drawings and prints by Rembrandt van Rijn held in 2003-2007, in celebration of the Rembrandt Year of 2006/2007, and reminds some previous ones held after 1945. In France, as in other countries, modern development of research radically decreased the number of drawings attributed to Rembrandt in order to cede it to his disciples and followers. Paris, where Frits Lugt was working from 1921 compiling the catalogues of Parisian collections, and where he bequeathed his own collection to the Fondation Custodia, has again become a place of international cooperation. Peter Schatborn prepared anew the collection of drawings at the exhibition held at Musée du Louvre (October 2006 - January 2007), entitled 'Rembrandt the Draftsman. Collections' Masterpieces in France'. There is also reminded a small exhibition of the drawings from Kupferstichkabinett Staatliche Museen zu Berlin, prepared by Holm Bevers, and exposed in Paris. From among the exhibitions of Rembrandt's engravings the most important was held at the Bibliotheque nationale de France in cooperation with Spain, entitled 'Rembrandt: la lumiere de l'ombre' (Rembrandt: the light of shadow) - November 2005 till the end of February 2006. There was also another exhibition reminded, 'Rembrandt et les peintres-graveurs italiens, de Castiglione a Tiepolo', at the Musée Départemental d'Art Ancien et Contemporain at Epinal.
3

REMBRANDT VAN RIJN AND MICHAEL WILLMANN, OR A STORY OF DISPELLING A CERTAIN MYTH (Rembrandt van Rijn i Michael Willmann, czyli historia upadku pewnego mitu)

100%
Koziel A.
Rocznik Historii Sztuki
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2008
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vol. 33
153-176
EN
The article presents a new interpretation of artistic relation between Rembrandt van Rijn and Michael Willmann (1630-1706), the greatest Silesian painter in the age of Baroque, who came for education to Amsterdam around 1650. The author shows how a myth of Willmann as 'Silesian Rembrandt - the pupil and follower of the master of Amsterdam was created in 19th- and 20th-century literature. On the basis of a new reading of the biography of Willmann published by Joachim von Sandrart in 1683 in the Latin edition of 'Teutsche Academie der Bau-, Bild- und Mahlerey-Knste' and an analysis of the series of twenty prints by Josef Gregory, carried out in 1794-1795 after Willmann's drawings - the most probable documentation of the artist's education in Amsterdam - the author tries to revise the myth and reconstruct a real role Rembrandt and his art played not only in the education of Willmann, but also in his later artistic activity (drawings, paintings and etchings). In conclusion the author states, that Willmann did not follow the Rembrandtesque inspirations because the Italian art was an artistic ideal for him. Unfortunately, not having enough money Willmann could not go to Italy to provide full artistic education for himself. It was Willmann's life defeat and the painter was aware of lacks in his artistic education till the end of his life (Polish Summary).
4

'ON AMERICAN POLONICA OF REMBRANDT OR FAIRY TALE ABOUT PEARL AND BOOT (O amerykanskich polonikach Rembrandta, czyli bajka o perle i bucie)

100%
Zygulski j. Z.
Rocznik Historii Sztuki
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2008
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vol. 33
45-51
EN
Numerous new works on Rembrandt, particularly some volumes of the Rembrandt Research Project and opinions of the most outstanding scholar in this field, Ernst van de Wetering, encourage to write some words about Rembrandt's American Polonica: 'The nobleman in Polish dress' in the National Gallery in Washington DC and 'The Polish Rider' in The Frick Collection, New York. The first picture, with the original signature of the Master and the date 1637, in the 18th century belonged to the rich collection of J. E. Gotzkovsky in Berlin. The entire collection in 1764 was bought by Catherine II of Russia, marked by a greedy passion for art. In the Imperial Hermitage in St. Petersburg the Russians saw the portrait an oriental ruler, but Poles, visiting Russian capital, tried to find in it an image of a Polish king, possibly of Stefan Batory or Jan Sobieski. In 1937 the portrait, with several other paintings acquired by Andrew Mellon, found its way to the National Gallery in Washington. In 1963 a Czech scholar, analyzing the costume of the person and some Dutch archival sources tried to prove that it might be a portrait of Polish diplomat of Rembrandt's times, Andrzej Rej (1584-1641) - this statement, however, seems to bee totally wrong. The face of the model is not typical Polish, but Dutch, with a form of moustache different to the Polish style. A big pearl in the ear, sometimes used in the male fashion in the West, never appeared in Poland. Also the dress does not belong to the Polish ones used in the first half of the 17th century. The face of the man with an artificial grim expression is most probably a kind of tronies, 'an exaggerated facial expression or a stock character in costume', eagerly practised by Rembrandt (as suggested by Ernst van de Wetering). The model is surely Adriaen, Rembrandt's brother. To make him a cruel oriental ruler the artist gave him a big Russian cap decorated with a gilt chain, a pear - shaped pearl to the ear, and a commander baton in the hand. He clad him in the fur covered with purple velvet, ornamented with a peculiar object - an oriental buntchuk - a horsetail standard, in gilt knop on chain, used for splendid horse trapping. All these were requisites of the artist, probably found in the Amsterdam bazaar, helping paint costumed portraits, especially of members of his family. The Polish Rider ('Lisowczyk' in Polish) is today generally explained as an original portrait of a Polish gentleman in the dress and with arms of light horse officer, probably of Marcjan Oginski. All elements of his costume and armament, as well horse's saddle and trapping (also with a buntchuk) - not from bazaar, but after original model, are reproduced by Rembrandt with a precision and faithfulness possible to achieve only by a genius. Nevertheless, recently de Wetering tried to discover again the hidden secrets of the painting. He is convinced that several different hands were involved in the picture. Surely, we know that the lower part of canvas (about ten centimetres wide) is added with a clumsy painted horse's lower parts of legs. Also the cap of the Rider changed its form in the front by unfortunate hand of a restorer. All other elements of attire and equipment are of Rembrandt's hand, and so is the boot, of Polish yellow leather and shape, and not a product of an inexperienced assistant. .
5

ELUSIVE PAINTING BY REMBRANDT. GEORG SIMMEL'S PHILOSOPHIC ATTEMPT TO INTERPRET THE OEUVRE OF THE DUTCH MASTER (Nieuchwytny obraz Rembrandta. Georga Simmla filozoficzna próba interpretacji oeuvre holenderskiego mistrza)

100%
Rosales R. A.
Rocznik Historii Sztuki
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2008
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vol. 33
247-258
EN
The purpose of this paper is to present and analyze the interpretation of Rembrandt's art in the thought of the German philosopher and sociologist Georg Simmel (1858-1918). His essay 'Rembrandt. Ein kunstphilosophischer Versuch' (Leipzig 1916) is an example of the postromantic reception of work of the 17th century painter in Germany, especially in the intellectual and artistic milieu of Berlin, where he participated in the course of art history and spent many years since 80. of the 19th century till 1914. Simmel - a friend of Rilke, Weber and Rodin - took part in the discussion on the modern culture and society. At the highest point of the worldwide interest in Rembrandt's art and life and at the crucial moment of scientific research on his work and professional connoisseurship, created Simmel a sketch, which is - in the method of description an amalgam of art philosophy and critics. Simmel's ahistorical interpretation, focused on Rembrandt's portraits, was an illustration of his philosophy and its main category of life (Leben). In the opinion of the German philosopher the Dutch artist found a way to express the absolute continuity of life. On the contrary to the timeless and abstract beauty of classical and renaissance portraits, Rembrandt's effigies were distinguished by an intimate depiction of the human existence and a new kind of narration, opposed to the Lessing's idea of fruitful moment. Rembrandt regarded as a painter who caught the stream of life was to achieve the greatest results in the portraits of old people, in particular his self-portraits. The artist, compared by Simmel with Titian, found an artistic form which was adequate and close to life in the 'painterly', wide manner of painting, exposition of colour and specific unfinished (Unendliche) of the work. Some of Simmel's ideas had however an anticipation in earlier historiography. The critical and esthetical context of his categories is analyzed in this article. Simmel's essay on Rembrandt's painting is an interesting trial of creating a new ideal of modern art existing beyond the classical norms. According to Simmel's discourse art is able to recover the lost spiritual unity of the human being, who cannot find in life.
6

REMBRANDT - THE OTHER BIOGRAPHY (Rembrandt - inna biografia)|

100%
Wetering v. d. E.
Rocznik Historii Sztuki
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2008
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vol. 33
5-27
EN
The article consists of a shortened and modified version of the book 'Rembrandt:a life in 180 paintings' (Amsterdam 2008)
7

A NEW VISION OF REMBRANDT'S PERSONALITY AND CREATIVITY: TWO EXHIBITIONS OF THE REMBRANDT YEAR (AND ONE POLISH PICTURE) (Nowa wizja osobowosci i tworczosci Rembrandta: dwie wystawy roku rembrandtowskiego (i jeden obraz polski))

100%
Ziemba A.
Rocznik Historii Sztuki
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2008
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vol. 33
29-44
EN
The 'Rembrandt Year' - 2006 - has brought about a far-reaching revision of the artist's person and works. The present article discusses several exhibitions held in that year. As the background for two of them, recognised as the most important, serves a critical opinion on the exposition of 'Rembrandt - Caravaggio' held at the Rijksmuseum in Amsterdam (curators: D. Bull, T. Dibbits and others), resulting from the conception of 'postmodernist ahistoricism', offering the spectators random associations, their own complements and interpretations of the works by both masters. The juxtaposition of the works by both artists - such different as regards their respective historical period, social and religious circumstances, and artistic temperament - revealed only the timeless, accidental similarities. Scientifically important, however, were the presentations: 'Rembrandt. Zoektocht van een genie' (Rembrandt: the quest of a genius) - held at the Rembrandt House Museum in Amsterdam (Rembrandthuis), displayed under the title of 'Rembrandt: Genie auf der Suche', with different arrangements of the exhibits, in Berlin (Gemäldegalerie, Staatliche Museen), and 'Rembrandts Landschaften - Rembrandts landschappen' (Rembrandt's landscapes) at Kassel (Staatliche Museen, Gemäldegalerie, Schloss Wilhelmshöhe), then at Leiden (Stedelijk Museum De Lakenhal). An analysis of these exhibitions is the impulse to popularise among Polish receivers a new vision of Rembrandt's oeuvre, outlined recently by Ernst van de Wetering, and at the same time to present the results of the research carried under his supervision and restoration works of the Rembrandt's paintings from the Lanckoronski collection at the Warsaw Royal Castle: 'The Scholar at the Lectern' and 'The Girl in a Picture Frame' (both dated 1641).
8

ENGRAVING ACTIVITY OF JEAN-PIERRE NORBLIN IN THE BACKGROUND OF THE 18TH-CENTURY REMBRANDTING GRAPHICS (Tworczosc rytownicza Jana Piotra Norblina na tle XVIII-wiecznej grafiki rembrandtyzujacej)

100%
Ignaczak P.
Rocznik Historii Sztuki
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2008
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vol. 33
177-218
EN
The article analyses the prints of Jean-Pierre Norblin de la Gourdaine (1745-1830) in the context of the 18th-century graphic Rembrandtism. The previous studies paid attention only to their associations with the works of Rembrandt, ignoring the relations with the contemporary creativity of European engravers, mainly French and German ones. The engravings by Rembrandt were thoroughly analysed in the 18th-century France and the conclusions were published in numerous theoretical texts. Edme F. Gersaint published in 1751 the first catalogue devoted solely to Rembrandt's prints. Then Claude-Henri Watelet in his 'Rymbranesques' (1787) analysed the graphic technique and determined that Rembrandt used etching combined with a drypoint and burin. Despite these observations and professed fascination with the results achieved by the Dutch master, French graphic artists hardly ever used these combined techniques in their works - instead they stuck to etching. In addition, they imitated the compositions of Rembrandt's paintings and prints, and unusual compositions in his style were scant. In this approach there is evident an impact of interpretative graphics which dominated in France at that time and imitated the works of great masters. It was characterised by technical mastery while forsaking artistic experiments. The situation of German graphic art was different, though. There were fewer theoretical texts published than in France, and interpretative graphics was less dominant. The tradition of 'peintres-graveurs' was cherished since many artists used an etching needle eagerly. Many etchings were modelled of the works by Rembrandt but more individual compositions in his style were also quite numerous. German graphic art was characterized by frequent use of a drypoint, often combined with etching. The 'peintres-graveurs' experimented on various stages of plate preparation as well as during the printing process. In the background of the French School the graphic activity of Norblin, who all his youth spent in Paris where he obtained his artistic education, is exceptional. He was, as a matter of fact, an author of several engravings modelled on existing painting and graphic compositions, but a majority of his oeuvre consists of original works referring in a creative way to the tradition of Rembrandt. They reveal, among other things, deep metamorphoses of iconographic means which allowed him to conceal the affinity between his own works and Rembrandt's models (as, for example, an engraving 'Ecce Homo') or depict the historical scenes which had not been portrayed in visual arts yet ('Presentation of the Crown to Premislas'). His creative experiments were not limited to the iconography itself, but encompassed also the technical process of engraving. Norblin was willing to combine etching with a drypoint, and he also used the techniques giving the effects similar to aquatint. In important stage in his creative process was also printing and retouching of the prints. A significant role played by experiment and attempts at rivalry with Rembrandt were the features Norblin shared with German 'peintres-graveurs' whose works he saw in Paris and on his way back to Poland. Like them, he also created paintings and drawings in the style of Rembrandt. There is no doubt that German art was for Norblin an important source of inspiration.
9

ON THE DRAWINGS AT THE EXHIBITION 'REMBRANDT. DRAWINGS AND PRINTS FROM POLISH COLLECTIONS', WARSAW NATIONAL MUSEUM, 2006 (O rysunkach na wystawie Rembrandt. Rysunki i ryciny ze zbiorów polskich, Muzeum Narodowe w Warszawie, 2006)

88%
Kozak A.
Rocznik Historii Sztuki
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2008
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vol. 33
135-151
EN
In the beginning the authoress discusses a question of attributing drawings to Rembrandt and his school in the past. Then the attention is paid to the present tendency of rejecting Rembrandt's authorship in favour of his pupils. Examples of such revaluations in well known European collections have been quoted. The reference is made to the issue of identifying stylistic groups on the example of Carl Fabritius and Willem Drost. Further, a detailed analysis of the changes in attributions of the drawings of Rembrandt and his pupils in Polish collections is given, which resulted from the exhibition 'Rembrandt. Drawings and Prints from Polish Collections' (The National Museum in Warsaw, 2006). First, the collection from the Ossolinski National Institute in Wroclaw was presented. The attributions of six drawings from this collection, formerly published as Rembrandt's have been changed. Three of them were ascribed to Carel Fabritius ('The Triumph of Mordecai' and two versions of the 'Landscape with an Arcaded Bridge'), another one to Gerbrandt Eeckhout ('Pastoral'), another one to Willem Drost ('Susana and the Old Men') and the last one to a Rembrandt's follower ('Thatched Cottage and a Leafless Tree'). The drawing 'Manius Curius Dentatus Refusing to Accept the Gifts from Samnites' from the Print Room of the University of Warsaw Library, previously published under the name of Rembrandt, has been attributed to Gerbrandt van den Eeckhout. The attributions of two Rembrandt's drawings ('Sitting Old Man in a Hat' and 'View of the St. Anthoniessluis') from the National Museum in Gdansk have not been changed. In the National Museum in Warsaw one drawing which formerly had been ascribed to the Rembrandt's school ('Joseph Telling His Dreams') has now been attributed to Aert de Gelder..
10

IMITATION AND COLLECTION. A CONTRIBUTION TO THE REMBRANDTISM OF NORBLIN (Nasladowanie i kolekcjonerstwo. Przyczynek do rembrandtyzmu Norblina)

88%
Rosset d. T. F.
Rocznik Historii Sztuki
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2008
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vol. 33
219-229
EN
A significant element of the creativity by Jan Piotr Norblin de La Gourdaine are his drawings, watercolours and etchings depicting everyday life of the Polish nobility, Polish types and costumes, markets, local dietines, the events important in the eyes of the nation (the Constitution of May 3, 1791, Kosciuszko's Insurrection of 1794). For this reason in the common mind of the Polish people Norblin became fixed mainly as an illustrator of the history and customs of the last years of the Polish-Lithuanian Commonwealth. European commentators focused their attention on painting inspirations of his creativity, derived from the oeuvre of Watteau, but above all from Rembrandt's. Rembrandtism of Norblin has also become a subject of research of Polish history of art. There were comprehensively analysed here the influences of the graphics by the Dutch artist and reflection of these fascinations in collecting. It was Norblin who brought to Poland the 'Landscape with the Good Samaritan' (the Czartoryskis Museum at Kraków), and in his collection there was quite a number of etchings and drawings by the Master. The latter were frequently an object of specific artistic procedures consisting in retouching and repainting. An example of such treatment is the print of Rembrandt's 'Christ Preaching', 1652, called 'La Petite Tombe' (B. 67). With the help of water paints and ink Norblin significantly retouched it in such a way that while retaining its primary composition, he partially changed its character. A new play of light accentuating the central figure of Christ transformed this picture close to the convention of genre scene into an almost mystic vision. The result, however, did not please its creator, since on the reverse Norblin wrote: 'Retouche que jai faite en 1799 vu que jai la / Planche Jai fait cette Sottise moy indignes'. The author of the present test reflects on the motives that impelled the artist to interfere in such a significant way in the work of art of his great predecessor. He certainly sees some elements of rivalry here, but above all a failed artistic experiment trying to 'correct' some alleged mistakes of the Dutch artist made against the modern art doctrine, no respecting of the 'decorum' rule and clarity of a composition, as well as excessive naturalism and bizarre appearance of his work. .
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