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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)

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Rosales R. A.

2008

tom 33

247-258

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.

REMBRANDT'S 'CURSED ART'. THE MYTH OF REBELLIOUS GENIUS IN THE 19TH CENTURY ARTISTIC CRITICISM AND PAINTING POLEMICS WITH ACADEMISM (Rembrandtowska 'sztuka wykleta'. Mit zbuntowanego geniusza w XIX-wiecznej krytyce.. i .. polemika z akademizmem)

100%

Rosales R. A.

2008

tom 33

231-245

The purpose of this paper is to summarize Rembrandt's fortune critique in the 19th century. The main theoretical premises for the interpretation of his art were borrowed from the earlier historiography, which focused on the following issues: mastery of color, neglect of proper technical procedures, lack of 'fini', low, vulgar subjects - a consequence of the lack of education, good taste, and the rejection of classical norms of beauty, in particular in the depiction of human body. These characteristics already made of Rembrandt's art in the 17th century a paradigm of artistic nonconformism, trespassing and denying academic canons and conventions. They legitimated all the antiacademic attitudes in the 19th century but were also in a way assimilated into the mainstream of academic painting in the second half of that century. Rembrandt has been called already 'the first heretic in art' by the 17th century Dutch poet Andries Pels but still in the 20th century the legend of 'artiste maudit' was revived by André Malreaux. In fact, the greatest critics of Rembrandt in the 19th century - Théophile Gautier, Charles Baudelaire, Thoré-Bürger, Edmond and Jules de Goncourt, Hyppolite Taine or Eugene Fromentin praised and admired the Dutch master as an original painter of human emotions, a master of dramatic light and shadow. All the moral and formal values of Rembrandt's art - as an antithesis of official academic doctrine - started to be a notion of modernity for romantics, realists and even expressionists. Imagination and color (considered as a free, spontaneous and expressive way of painting) predestinated Rembrandt for the role of a patron of romanticism but also - in political terms - a figure of freedom and independence. This individuality was to be a heritage of the Dutch history: of a small nation who has not only thrown off the yoke of the Spanish empire in the 17th century but it was also able to create an original, native, national school of art, different of any other Italian or Flemish tradition. Rembrandt with his innate sense of freedom became a pattern of genius, giving an artistic license for 'heresy' in art to many of the 19th century artists, among others Georges Michel, Eugene Delacroix, Gustave Courbet, James Ensor, Lovis Corinth and Max Liebermann. The 'cliché' of an artist who is lonely, incomprehensible by the contemporaries, but faithful to his own rules became a myth, a part of his literary vie romancée. At the same time the mastership of Rembrandt's painting, drawing and graphic art was recognized by history of art; in 1852 there was erected in Amsterdam the first statue of the painter. Scientists as Edouard Koloff or Carel Vosmaer started to publish their research on the old master and in 1898 it took place in Stedelijk Museum in Amsterdam the first monographic exhibition of Rembrandt.