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dr rembrandt skin: Rembrandt's Roughness Nicola Suthor, 2018-04-03 Roughness is the sensual quality most often associated with Rembrandt's idiosyncratic style. It best defines the specific structure of his painterly textures, which subtly capture and engage the imagination of the beholder. Rembrandt's Roughness examines how the artist's unconventional technique pushed the possibilities of painting into startling and unexpected realms. Drawing on the phenomenological insights of Edmund Husserl as well as firsthand accounts by Rembrandt's contemporaries, Nicola Suthor provides invaluable new perspectives on many of the painter's best-known masterpieces, including The Anatomy Lesson of Dr. Deyman, The Return of the Prodigal Son, and Aristotle with a Bust of Homer. She focuses on pictorial phenomena such as the thickness of the paint material, the visibility of the colored priming, and the dramatizing element of chiaroscuro, showing how they constitute Rembrandt's most effective tools for extending the representational limits of painting. Suthor explores how Rembrandt developed a visually precise handling of his artistic medium that forced his viewers to confront the paint itself as a source of meaning, its challenging complexity expressed in the subtlest stroke of his brush. A beautifully illustrated meditation on a painter like no other, Rembrandt's Roughness reflects deeply on the intellectual challenge that Rembrandt's unrivaled artistry posed to the art theory of his time and its eminent role in the history of art today. |
dr rembrandt skin: Rembrandt Russell Roberts, 2009-09 Rembrandt. The very name of this legendary artist has come to signify excellence. But what about the man himself? Learn his unfortunate story—how he gained overwhelming commercial acceptance at an early age, only to have it slip away and never return. His personal life was tragic, filled with financial problems. Yet, despite all his troubles, the flame of genius never died inside him. Rembrandt, master of light, continued to be a master artist. |
dr rembrandt skin: Rembrandt Ernst van de Wetering, 2009-04-06 “Ernst van de Wetering's wonderful book has taken us further than almost any study over the past twenty years, towards an understanding of the machinery of Rembrandt's genius. No one attempting to write about Rembrandt in the future will be able to do so without taking this fine work into account.” —Simon Schama Who would not have wanted to look over Rembrandt's shoulder while he painted? Among the countless books on Rembrandt, that by Ernst van de Wetering comes closest to conveying something of this experience because the author combines the qualifications of a trained connoisseur and of a practising painter. —Ernst Gombrich |
dr rembrandt skin: Rembrandt Ernst van de Wetering, 1997 Rembrandts paintings have been admired throughout centuries because of their artistic freedom. But Rembrandt was also a craftsman whose painting technique was rooted the tradition. Rembrandt—The Painter at Work is the result of a lifelong search for Rembrandt's working methods, his intellectual approach to the art of painting and the way in which his studio functioned. Ernst van de Wetering demonstrates how this knowledge can be used to tackle questions about authenticity and other art-historical issues. Approximately 350 illustrations, half of which are reproduced in colour, make this book into a monumental tribute to one of the worlds most important painters. The book is—if one may be allowed to say such a thing about a serious scholarly work—a gripping good-read.' Christopher White, The Burlington Magazine This is a very rich book, a deeply felt analysis of an artist whom the author knows better than almost any other living scholar. Christopher Brown, Times Literary Supplement |
dr rembrandt skin: Rembrandt? Lene Bøgh Rønberg, Eva de la Fuente Pedersen, Ernst van de Wetering, Statens museum for kunst (Denmark), 2006 |
dr rembrandt skin: Rembrandt's Whore Sylvie Matton, 2020-02-06 A sensitive innocent, Hendrickje Stoffels escapes the harsh realities of her garrison home-town to take up a servant’s role in Rembrandt’s household. She soon becomes his lover and closest confidante, and plays witness to the highs and lows of the great artist’s life. But Hendrickje is fated to discover the hypocrisy and greed of society in Amsterdam’s Golden Age. In sensuous prose, Matton paints a powerful fictional portrait of this impassioned relationship through the eyes of a remarkable woman. |
dr rembrandt skin: Rembrandt's Eyes Simon Schama, 2000 For Rembrandt, as for Shakespeare, all the world was indeed a stage, and he knew in exhaustive detail the tactics of its performance: the strutting and mincing, the wardrobe and face-paint, the full repertoire and gesture and gimace, the flutter of hands and the roll of the eyes, the belly-laugh and the half-stifled sob. He knew what it looked like to seduce, to intimidate, to wheedle and to console; to strike a pose or preach a sermon, to shake a fist or uncover a breast; and how to sin and how to atone. No artist had ever been so fascinated by the fashioning of personae, beginning with his own. No painter ever looked with such unsparing intelligence or such bottomless compassion at our entrances and our exits and the whole rowdy show in between. |
dr rembrandt skin: Framing Formalism Richard Woodfield, 2013-10-23 Alois Riegl (1858-1905) was one of the founding fathers of modern formalist criticism. As a member of the Vienna School of Art Historians, he shared their range of interests in the decorative arts, art in transition, conservation and monuments. This collection of critical essays examines various facets of Riegl's work and opens with a new translation of Hans Sedlmayr's famous, and notorious,Die Quintessenze der Lehren Riegls. Included is Julius von Schlosser's assessment of Riegl's contribution to the Vienna School of Art Historians as well as essays by a team of international scholars. This book offers a re-engagement with the ideas of one of the most important and neglected art historians of the 20th century. |
dr rembrandt skin: Biography of Rembrandt Sam Morgan, 2024-11-28 Dive into the life of Rembrandt van Rijn, the Dutch master whose work is celebrated for its depth, realism, and emotional power. This biography explores his artistic journey, his famous works like The Night Watch and The Anatomy Lesson, and his impact on Baroque art. Learn about his use of light and shadow, his portraiture, and his influence on art history. Ideal for art enthusiasts, this book offers an insightful look into Rembrandt’s life and enduring legacy. |
dr rembrandt skin: Rembrandt, His Life, His Work and His Time Emile Michel, 1895 |
dr rembrandt skin: The Crimson Blind Fred M. White, 2019-12-05 In 'The Crimson Blind' by Fred M. White, readers are transported to a thrilling world of mystery and suspense. Set in the late 19th century, this novel follows the story of a man who wakes up with amnesia and finds himself in the midst of a dangerous conspiracy. White's literary style is reminiscent of other popular mystery writers of the time, such as Arthur Conan Doyle, with its intricate plot twists and attention to detail. The book is a classic example of Victorian crime fiction, with a focus on the psychology of the characters and the intricate web of deceit that surrounds them. Readers will be kept on the edge of their seats as they follow the protagonist's journey to uncover the truth behind his lost memories and the Crimson Blind. As a prolific writer of detective fiction, Fred M. White's own experiences and interests in the genre undoubtedly influenced the creation of this gripping novel. Fans of classic mystery literature and psychological thrillers will be captivated by 'The Crimson Blind' and its gripping tale of deception, danger, and discovery. |
dr rembrandt skin: Bibliography of the History of Medicine , 1984 |
dr rembrandt skin: A Corpus of Rembrandt Paintings VI Ernst van de Wetering, 2014-11-11 A revised survey of Rembrandt’s complete painted oeuvre. The question of which 17th-century paintings in Rembrandt’s style were actually painted by Rembrandt himself had already become an issue during his lifetime. It is an issue that is still hotly disputed among art historians today. The problem arose because Rembrandt had numerous pupils who learned the art of painting by imitating their master or by assisting him with his work as a portrait painter. He also left pieces unfinished, to be completed by others. The question is how to determine which works were from Rembrandt’s own hand. Can we, for example, define the criteria of quality that would allow us to distinguish the master’s work from that of his followers? Do we yet have methods of investigation that would deliver objective evidence of authenticity? To what extent do research techniques used in the physical sciences help? Or are we, after all, still dependent on the subjective, expert eye of the connoisseur? The book provides answers to these questions. Prof. Ernst van de Wetering, the author of our forthcoming book which deals with these questions, has been closely involved in all aspects of this research since 1968, the year the renowned Rembrandt Research Project (RRP) was founded. In particular, he played an important role in developing new criteria for authentication. Van de Wetering was also witness to the way the often overly zealous tendency to doubt the authenticity of Rembrandt’s paintings got out of hand. In this book he re-attributes to the master a substantial number of unjustly rejected Rembrandts. He also was closely involved in the (re)discovery of a considerable number of lost or completely unknown works by Rembrandt. The verdicts of earlier specialists – including the majority of members of the original RRP (up to 1989) – were based on connoisseurship: the self-confidence in one’s ability to recognise a specific artist’s style and ‘hand’. Over the years, Van de Wetering has carried out seminal research into 17th-century studio practice and ideas about art current in Rembrandt’s time. In this book he demonstrates the fallibility of traditional connoisseurship, especially in the case of Rembrandt, who was par excellence a searching artist. The methodological implications of this critical view are discussed in an introductory chapter which relates the history of the developments in this turbulent field of research. Van de Wetering’s account of his own involvement in it makes this book a lively and sometimes unexpectedly personal account. The catalogue section presents a chronologically ordered survey of Rembrandt’s entire painted oeuvre of 336 paintings, richly illustrated and annotated. For all the paintings re-attributed in this book, extensive commentaries have been included that provide a multi-facetted new insight into Rembrandt’s world and the world of art-historical research. Rembrandt’s Paintings Revisited is the concluding sixth volume of A Corpus of Rembrandt Paintings (Volumes I-V; 1982, 1986, 1989, 2005, 2010). It can also be read as a revisionary critique of the first three Volumes published by the old RRP team up till 1989 and of Gerson’s influential survey of Rembrandt’s painted oeuvre of 1968/69. At the same time, the book is designed as an independent overview that can be used on the basis that anyone seeking more detailed information will be referred to the five previous (digital versions of the) Volumes and the detailed catalogues published in the meantime by the various museums with collections of Rembrandt paintings. This work of art history and art research should belong in the library of every serious art historical institute, university or museum. |
dr rembrandt skin: Images of Leprosy Christine M. Boeckl, 2011-03-01 From biblical times to the onset of the Black Death in the fourteenth century, leprosy was considered the worst human affliction, both medically and socially. Only fifty years ago, leprosy, or Hansen’s disease, was an incurable infectious illness, and it still remains a grave global concern. Recently, leprosy has generated attention in scholarly fields from medical science to the visual arts. This interdisciplinary art-historical survey on lepra and its visualization in sculpture, murals, stained glass, and other media provides new information on the history of art, medicine, religion, and European society. Christine M. Boeckl maintains that the various terrifying aspects of the disease dominated the visual narratives of historic and legendary figures stricken with leprosy. For rulers, beggars, saints, and sinners, the metaphor of leprosy becomes the background against which their captivating stories are projected. |
dr rembrandt skin: The Greatest Crime Novels of Fred M. White - 77 Books in One Volume (Illustrated Edition) Fred M. White, 2017-10-16 This unique collection of The Greatest Crime Novels of Fred M. White - 77 Books in One Volume (Illustrated Edition) has been designed and formatted to the highest digital standards. Contents: By Order of the League The Crimson Blind The Cardinal Moth The Corner House The Ends of Justice The House of Schemers The Lord of the Manor The Slave of Silence The Island of Shadows A Daughter of Israel Tregarthen's Wife Blackmail The Weight of the Crown A Shadowed Love My Lady Bountiful The Yellow Face The Nether Millstone The Midnight Guest A Fatal Dose The Five Knots The Edge of the Sword The Lonely Bride Craven Fortune The Law of the Land The Mystery of the Four Fingers The Sundial Netta A Queen of the Stage The Scales of Justice A Crime on Canvas The Golden Rose Paul Quentin A Front of Brass Hard Pressed The White Glove A Mummer's Throne The Secret of the Sands The Man Called Gilray The House of Mammon A Royal Wrong A Secret Service The Sentence of the Court Powers of Darkness The Mystery of the Ravenspurs The Day Ambition's Slave The Seed of Empire The Salt of the Earth The Lady in Blue The Case for the Crown The Wings of Victory The Leopard's Spots The Honour of His House The Man who was Two The Mystery of Room 75 The Councillors of Falconhoe The Mystery of Crocksands The Turn of the Tide The Green Bungalow The Devil's Advocate The Golden Bat The Price of Silence The House on the River... Frederick White (1859–1935), mostly known for mysteries, is considered also as one of the pioneers of the spy story. |
dr rembrandt skin: The Greatest Thrillers of Fred M. White (90+ Titles in One Volume) Fred M. White, 2017-10-16 This carefully edited collection has been designed and formatted to the highest digital standards and adjusted for readability on all devices. Contents: The Crimson Blind The Cardinal Moth The Corner House The Ends of Justice The House of Schemers The Lord of the Manor The Slave of Silence The Yellow Face The Nether Millstone The Midnight Guest A Fatal Dose The Five Knots The Edge of the Sword The Lonely Bride Craven Fortune The Law of the Land The Mystery of the Four Fingers A Golden Argosy By Order of the League A Daughter of Israel Tregarthen's Wife Blackmail The Weight of the Crown A Shadowed Love The Sundial Netta A Queen of the Stage The Scales of Justice A Crime on Canvas The Golden Rose Paul Quentin A Front of Brass Hard Pressed The White Glove A Mummer's Throne The Secret of the Sands The Man Called Gilray The House of Mammon A Royal Wrong A Secret Service The Sentence of the Court Powers of Darkness The Mystery of the Ravenspurs The Day Ambition's Slave The Salt of the Earth The Lady in Blue The Case for the Crown The Wings of Victory The Leopard's Spots The Honour of His House The Man who was Two The Mystery of Room 75 The Councillors of Falconhoe The Mystery of Crocksands The Turn of the Tide The Green Bungalow The Devil's Advocate The Golden Bat The Price of Silence The House on the River The Shadow of the Dead Hand The King Diamond The Riddle of the Rail The Grey Woman Queen of Hearts On The Night Express The Phantom Car A Clue in Wax Found Dead The Man Who Knew A Broken Memory Secret of the River The Blue Daffodil The Master Criminal (True Crime Tales) The Romance of the Secret Service Fund… Frederick White (1859–1935), mostly known for mysteries, is considered also as one of the pioneers of the spy story. |
dr rembrandt skin: The Master Criminal - Ultimate Crime Collection Fred M. White, 2022-05-17 DigiCat Publishing presents to you a collection of the greatest Fred M. White thrillers: The Crimson Blind_x000D_ The Cardinal Moth_x000D_ The Corner House_x000D_ The Ends of Justice_x000D_ The House of Schemers_x000D_ The Lord of the Manor_x000D_ The Slave of Silence_x000D_ The Yellow Face_x000D_ The Nether Millstone_x000D_ The Midnight Guest_x000D_ A Fatal Dose_x000D_ The Five Knots_x000D_ The Edge of the Sword_x000D_ The Lonely Bride_x000D_ Craven Fortune_x000D_ The Law of the Land_x000D_ The Mystery of the Four Fingers_x000D_ A Golden Argosy_x000D_ By Order of the League_x000D_ A Daughter of Israel_x000D_ Tregarthen's Wife_x000D_ Blackmail_x000D_ The Weight of the Crown_x000D_ A Shadowed Love_x000D_ The Sundial_x000D_ Netta_x000D_ A Queen of the Stage_x000D_ The Scales of Justice_x000D_ A Crime on Canvas_x000D_ The Golden Rose_x000D_ Paul Quentin_x000D_ A Front of Brass_x000D_ Hard Pressed_x000D_ The White Glove_x000D_ A Mummer's Throne_x000D_ The Secret of the Sands_x000D_ The Man Called Gilray_x000D_ The House of Mammon_x000D_ A Royal Wrong_x000D_ A Secret Service_x000D_ The Sentence of the Court_x000D_ Powers of Darkness_x000D_ The Mystery of the Ravenspurs_x000D_ The Day_x000D_ Ambition's Slave_x000D_ The Salt of the Earth_x000D_ The Lady in Blue_x000D_ The Case for the Crown_x000D_ The Wings of Victory_x000D_ The Leopard's Spots_x000D_ The Honour of His House_x000D_ The Man who was Two_x000D_ The Mystery of Room 75_x000D_ The Councillors of Falconhoe_x000D_ The Mystery of Crocksands_x000D_ The Turn of the Tide_x000D_ The Green Bungalow_x000D_ The Devil's Advocate_x000D_ The Golden Bat_x000D_ The Price of Silence_x000D_ The House on the River_x000D_ The Shadow of the Dead Hand_x000D_ The King Diamond_x000D_ The Riddle of the Rail_x000D_ The Grey Woman_x000D_ Queen of Hearts_x000D_ On The Night Express_x000D_ The Phantom Car_x000D_ A Clue in Wax_x000D_ Found Dead_x000D_ The Man Who Knew_x000D_ A Broken Memory_x000D_ Secret of the River_x000D_ The Blue Daffodil_x000D_ The Master Criminal (True Crime Tales)_x000D_ The Romance of the Secret Service Fund..._x000D_ Frederick White (1859–1935), mostly known for mysteries, is considered also as one of the pioneers of the spy story._x000D_ |
dr rembrandt skin: Rembrandt: The Painter Irfan Ajvazi , 2023-01-01 In Amsterdam, Rembrandt became a prominent portraitist, attracting attention with dramatic compositions like The Anatomy Lesson of Dr. Tulp (1632; Mauritshuis, The Hague). In securing commissions, the artist was assisted by the Mennonite art dealer Hendrick Uylenburgh, whose cousin Saskia married Rembrandt in 1634. The Mennonites advocated personal interpretation of scripture, which probably influenced Rembrandt’s subjective and often moving treatment of biblical subjects. The artist became highly successful in the 1630s, when he had several pupils and assistants, started his own art collection, and lived the life of a cultivated gentleman, especially in the impressive residence he purchased in 1639 (now the Rembrandt House Museum). |
dr rembrandt skin: Journal of the American Medical Association American Medical Association, 1889 Includes proceedings of the Association, papers read at the annual sessions, and list of current medical literature. |
dr rembrandt skin: John Donne's Physics Elizabeth D. Harvey, Timothy M. Harrison, 2024-05-10 With the anniversary of Donne's brilliant and difficult Devotions Upon Emergent Occasions coming up in 2024, Elizabeth Harvey and Timothy Harrison's John Donne's Physics is a timely study that provides fresh readings of the Devotions in relation to all of Donne's other writings. Previous scholarship has focused on Donne the cleric and the religious, pastoral significance of his work and thought. Harvey and Harrison show us another side of the pastoral poet: as a thinker immersed in the latest developments in science and medicine of the time, and a participant in debates on natural philosophy and physics of his day. Rereading the Devotions alongside Donne's love poetry, satire, letters, and elegies, Harvey and Harrison shed new light on Donne, on his experience of the 1623 typhus epidemic in London that inspired his writing of the Devotions, and how we might think with Donne during our own pandemic times-- |
dr rembrandt skin: A Corpus of Rembrandt Paintings IV Ernst van de Wetering, 2005-10-18 Volume IV of A Corpus of Rembrandt Paintings deals uniquely with the self-portraits of Rembrandt. In a clearly written explanatory style the head of the Rembrandt Research Project and Editor of this Volume, Ernst van de Wetering, discusses the full body of work of paintings and etchings portraying Rembrandt. He sets the different parameters for accepting or rejecting a Rembrandt self-portrait as such, whilst also discussing the exact working environment of Rembrandt and his apprentices. This workshop setting created a surroundings where apprentices could be involved in working on Rembrandt paintings making it more difficult to determine the hand of the master. Van de Wetering, who is one of the Rembrandt experts of our day and age, goes down to great detail to explain how the different self-portraits are made and what techniques Rembrandt uses, also giving an overview of which paintings are to be attributed to the Dutch Master and which not. In the additional catalogue the self-portraits are examined in detail. In clear and accessible explanatory text the different paintings are discussed, larded with immaculate images of each painting. Details are shown where possible, as well as the results of modern day technical imaging like X-radiography. This work of art history and art research should be part of every serious art historical institute, university or museum. Nowhere in the art history have all Rembrandt’s self portraits been discussed in such detailed and comparative manner by an authority such as Ernst van de Wetering. This is a standard work for decades to come. |
dr rembrandt skin: A Corpus of Rembrandt Paintings J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, E. van de Wetering, 2013-05-14 Since the second half of the last century art historians, realizing that the image of Rembrandt’s work had become blurred with time, have attempted to redefine the artist’s significance both as a source of inspiration to other artists and as a great artist in his own right. In order to carry on the work started by previous generations, a group of leading Dutch art historians from the university and museum world joined forces in the late 1960s in order to study afresh the paintings usually ascribed to the artist. The researchers came together in the Rembrandt Research Project which was established to provide the art world with a new standard reference work which would serve the community of art historians for the nearby and long future. They examined the originals of all works attributed to Rembrandt taking full advantage of today’s sophisticated techniques including radiography, neutron activation autoradiography, dendrochronology and paint sample analysis — thereby gaining valuable insight into the genesis and condition of the paintings. The result of this meticulous research is laid down chronologically in the following Volumes: A Corpus of Rembrandt Paintings, Volume I, which deals with works from Rembrandt’s early years in Leiden(1629-1631), published in 1982. A Corpus of Rembrandt Paintings, Volume II, covering his first years in Amsterdam (1631-1634), published in 1986. THIS VOLUME: A Corpus of Rembrandt Paintings, Volume III, goes into his later years of reputation (1635-1642), published in 1990. Each Volume consists of a number of Introductory Chapters as well as the full Catalogue of all paintings from the given time period attributed to Rembrandt. In this catalogue each painting is discussed and examined in a detailed way, comprising a descriptive, an interpretative and a documentary section. For the authenticity evaluation of the paintings threedifferent categories are used to divide the works in: A. Paintings by Rembrandt, B. Paintings of which Rembrandt’s authorship cannot be positively either accepted or rejected, and C. Paintings of which Rembrandt’s authorship cannot be accepted. This volume (Volume III) contains 820 pages, starting of with three introductory chapters and discussing 86 paintings. In clear and accessible explanatory text all different paintings are discussed, larded with immaculate images of each painting. Details are shown where possible, as well as the results of modern day technical imaging. In this volume important paintings including the Night Watch are discussed. |
dr rembrandt skin: Working Mother , 2002-03 The magazine that helps career moms balance their personal and professional lives. |
dr rembrandt skin: Working Mother , 2002-03 The magazine that helps career moms balance their personal and professional lives. |
dr rembrandt skin: The Lancet , 1872 |
dr rembrandt skin: Rembrandt's Promise Barbara Leahy, 2025-03-27 Stunning historical immersion into the world of Rembrandt with a gripping plot of a promise turned sour. For fans of Stacey Halls, Maggie O'Farrell and Tracy Chevalier. 'With glorious language, she gives us a believable, elegant and atmospheric novel - just beautiful' - Nuala O'Connor - author of Seaborne and NORA Hanging beside the door is a painting of a wedding feast. The light is centred on the bride; the guests are banished to the shade. That is how it is when he looks at her: all others fade away. 1642. The Dutch Golden Age is underway, with Amsterdam at the height of its powers. Geertje, an impoverished widow from Edam, enters a melting pot of wealth and culture when she becomes nursemaid in the house of renowned painter Rembrandt. After Rembrandt's wife dies, Geertje is drawn deeper into his world and despite her friends' warnings, she begins a passionate affair with the master of light and shadow, with devastating results. Based on the true account of a wronged woman who demanded justice, with themes of feminism, loss, ambition and redemption, this is a remarkable debut, perfect for fans of sumptuous historical fiction. |
dr rembrandt skin: Doctors and Paintings John Middleton, Erica Middleton, 2018-08-11 This work includes forewords by Sir Liam Donaldson and Peter Wheeler, Chief Medical Officer, Department of Health; Dean, College of Fine Arts, University of Sharjah, United Arab Emirates. Appreciating art can help doctors build empathy with patients and reduce stress. By stimulating thought and reflection through paintings, this concise and engaging text invites readers to examine their motivation, their profession and their world. This exciting new book provides vital refreshment for doctors and medical students, lecturers and tutors in medical humanities, and healthcare professionals with mentoring roles. John and Erica Middleton guide the reader gently along the interface between art and medicine, in their own inimitable style. Whether in search of an introduction to the world of art, or wishing to consider the role that the formal study of art might play in professional development, reading this book is likely to prove rewarding. Turning these pages will help doctors to appreciate afresh the window through which they look upon the world - Sir Liam Donaldson, in his Foreword. Great art provides insights into the human condition. If through a systematic engagement with art and literature as an extension of their medical practice, GPs can apply those insights to themselves (know thyself), they can equally apply them when dealing with patients. Doctors and patients are people, subjects. Intersubjectivity is perhaps a better word than empathy to define what this book seeks to promote, the capacity of the doctor to enter into and inhabit the patient's subjectivity - Peter Wheeler, in his Foreword. |
dr rembrandt skin: British Medical Journal , 1889 |
dr rembrandt skin: Picturing Punishment Anuradha Gobin, 2021-07-30 Picturing Punishment examines representations of criminal bodies as they moved in, through, and out of publicly accessible spaces in the city during punishment rituals in the seventeenth-century Dutch Republic. Once put to death, the criminal cadaver did not come to rest. Its movement through public spaces indicated the potent afterlife of the deviant body, especially its ability to transform civic life. Focusing on material culture associated with key sites of punishment, Anuradha Gobin argues that the circulation of visual media related to criminal punishments was a particularly effective means of generating discourse and formulating public opinion, especially regarding the efficacy of civic authority. Certain types of objects related to criminal punishments served a key role in asserting republican ideals and demonstrating the ability of officials to maintain order and control. Conversely, the circulation of other types of images, such as inexpensive paintings and prints, had the potential to subvert official messages. As Gobin shows, visual culture thus facilitated a space in which potentially dissenting positions could be formulated while also bringing together seemingly disparate groups of people in a quest for new knowledge. Combining a diverse array of sources including architecture, paintings, prints, anatomical illustrations, and preserved body parts, Picturing Punishment demonstrates how the criminal corpse was reactivated, reanimated, and in many ways reintegrated into society. |
dr rembrandt skin: The Crimson Blind Frederick Merrick White, 2020-09-28 David Steel dropped his eyes from the mirror and shuddered as a man who sees his own soul bared for the first time. And yet the mirror was in itself a thing of artistic beauty—engraved Florentine glass in a frame of deep old Flemish oak. The novelist had purchased it in Bruges, and now it stood as a joy and a thing of beauty against the full red wall over the fireplace. And Steel had glanced at himself therein and seen murder in his eyes. He dropped into a chair with a groan for his own helplessness. Men have done that kind of thing before when the cartridges are all gone and the bayonets are twisted and broken and the brown waves of the foe come snarling over the breastworks. And then they die doggedly with the stones in their hands, and cursing the tardy supports that brought this black shame upon them. But Steel's was ruin of another kind. The man was a fighter to his finger-tips. He had dogged determination and splendid physical courage; he had gradually thrust his way into the front rank of living novelists, though the taste of poverty was still bitter in his mouth. And how good success was now that it had come! People envied him. Well, that was all in the sweets of the victory. They praised his blue china, they lingered before his Oriental dishes and the choice pictures on the panelled walls. The whole thing was still a constant pleasure to Steel's artistic mind. The dark walls, the old oak and silver, the red shades, and the high artistic fittings soothed him and pleased him, and played upon his tender imagination. And behind there was a study, filled with books and engravings, and beyond that again a conservatory, filled with the choicest blossoms. Steel could work with the passion flowers above his head and the tender grace of the tropical ferns about him, and he could reach his left hand for his telephone and call Fleet Street to his ear. It was all unique, delightful, the dream of an artistic soul realised. Three years before David Steel had worked in an attic at a bare deal table, and his mother had £3 per week to pay for everything. Usually there was balm in this recollection. But not to-night, Heaven help him, not to-night! Little grinning demons were dancing on the oak cornices, there were mocking lights gleaming from Cellini tankards that Steel had given far too much money for. It had not seemed to matter just at the time. If all this artistic beauty had emptied Steel's purse there was a golden stream coming. What mattered it that the local tradesmen were getting a little restless? The great expense of the novelist's life was past. In two years he would be rich. And the pathos of the thing was not lessened by the fact that it was true. In two years' time Steel would be well off. He was terribly short of ready money, but he had just finished a serial story for which he was to be paid £500 within two months of the delivery of the copy; two novels of his were respectively in their fourth and fifth editions. But these novels of his he had more or less given away, and he ground his teeth as he thought of it. Still, everything spelt prosperity. If he lived, David Steel was bound to become a rich man. |
dr rembrandt skin: Medicine in Art Giorgio Bordin, Laura Polo D'Ambrosio, 2010 Fully illustrated with hundreds of artworks, this guide explores depictions of illness and healing in Western art. |
dr rembrandt skin: Elle , 2003 |
dr rembrandt skin: Transplant Fictions Emily Russell, 2019-04-17 Removing an organ from one (typically dead) body and placing it in another living body challenges our most foundational ideas about boundaries between self and other, individual and social identity, life and death, health and illness. But despite these transgressions, organ transplant is a celebrated and relatively common procedure. Transplant Fictions brings together a diverse set of cultural representations to understand how we have overcome the profound ideological violations represented by organ exchange in order to reimagine the concept and practice as technological and moral victories. From the plots of horror stories and sci-fi novels to sentimental romances and feel-good media reports of stranger donation, this cultural study offers a nuanced portrait of the conceptual journey of organ exchange from strange and terrible to the “gift of life.” |
dr rembrandt skin: James McNeill Whistler an Evolution of Painting from the Old Masters: Identified By Two Missing Masterpieces Angelle M Vinet, 2017-07-12 The discovery of this masterpiece Whistler's Portrait of William Merritt Chase, along with another important Whistler painting, Harmony in Black, No10, reveals exciting new discoveries on Whistler's artistic methods, from the Old Masters and the artistic truisms of the Renaissance. Documented analysis including x-ray examination, forensics and recognized paintings by Whistler's followers will confirm this portrait and Harmony in Black, No10, with x-ray revealing two lost paintings. These Whistler paintings connect scholarship and identify paintings worthy of merit and what makes a masterpiece a masterpiece. |
dr rembrandt skin: Bibliography of the History of Medicine National Library of Medicine (U.S.), 1990 |
dr rembrandt skin: The Listener , 1954 |
dr rembrandt skin: The Vanishing Christopher Pye, 2000 Through readings of King Lear, Hamlet, Henry VI and other works, this volume employs psychoanalytic theory to arrive at new understandings of the emergence of early modern subjectivities. |
dr rembrandt skin: The Art of Law Stefan Huygebaert, Georges Martyn, Vanessa Paumen, Eric Bousmar, Xavier Rousseaux, 2018-09-27 The contributions to this volume were written by historians, legal historians and art historians, each using his or her own methods and sources, but all concentrating on topics from the broad subject of historical legal iconography. How have the concepts of law and justice been represented in (public) art from the Late Middle Ages onwards? Justices and rulers had their courtrooms, but also churches, decorated with inspiring images. At first, the religious influence was enormous, but starting with the Early Modern Era, new symbols and allegories began appearing. Throughout history, art has been used to legitimise the act of judging, but artists have also satirised the law and the lawyers; architects and artisans have engaged in juridical and judicial projects and, in some criminal cases, convicts have even been sentenced to produce works of art. The book illustrates and contextualises the various interactions between law and justice on the one hand, and their artistic representations in paintings, statues, drawings, tapestries, prints and books on the other. |
dr rembrandt skin: Reading Between the Lines Jean H. Duffy, 1998-01-01 This is the first extended analysis of Simon’s novels, examining the relationship between the work of the French Nobel prize-winning novelist Claude Simon and that of a number of visual artists whose work he has used as stimuli in the production of his novels. |
dr rembrandt skin: Rembrandts 'Portrait of a Young Gentleman'. Jan Six, 2018 When art dealer Jan Six saw the 'Portrait of a Young Gentleman' in a Christie?s auction catalogue, he instantly knew that it could not possibly be a work that had been attributed to ?the circle of Rembrandt?, but that the master must have painted it himself. The last time a hitherto unknown painting by Rembrandt was discovered was in 1974, when 'The Baptism of the Eunuch' came to light. But how does one convince the world of such a discovery? Does something like an absolute eye exist? And how special is such a painting in comparison to all the other known works by the most famous Dutch painter? In this book Jan Six takes the reader on a compelling and erudite journey, all about his exciting discovery and a boy?s dream come true, showing the 'Portrait of a Young Gentleman' through the eyes of his discoverer. 0Jan Six (1978) studied art history and worked at Sotheby?s London and in Amsterdam as head of the Old Master Paintings department. Since 2008 he operates as an art dealer and runs his own gallery, specialised in Dutch and Flemish Old Master Paintings and Drawings. |
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