By Rembrandt Harmenszoon van Rijn; Scallen, Catherine B.; Rembrandt, Rembrandt Harmenszoon van Rijn
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Extra info for Rembrandt, reputation, and the practice of connoisseurship
Example text
Did Bode really wish to conclude that Rembrandt copied himself, given the existence of the two small paintings? Anyone could see, in a comparison of these two paintings (made possible by an examination of the woodcut reproducing the Nuremberg painting and the brand new photograph by Braun of that in The Hague) that they were reproductions. Wurzbach concluded that the understanding of Rembrandt’s earliest phase was still rudimentary. He summarized Bode’s main points and his refutation of them, based on his own visual perceptions and augmented, where possi- 58 rembrandt, reputation, and the practice of connoisseurship * Scallen V5 02-02-2004 17:01 Pagina 59 (Zwart/Process Black Plaat) ble, by the judgments of other authorities who supported his position, and stated his belief that Bode had misrepresented the results of Rembrandt research.
46 Denon’s transformation of the typical museum display of individual masterpieces into a tangible, linear description of the chronological development of various national schools of art would prove to have greater longevity than the Musée Napoleon itself. 47 After Napoleon’s defeat, it reverted to its former status as the Louvre and a number of the works brought there in the previous two decades were returned to their former owners. Yet even the end of Napoleon’s rule in 1815 did not see a complete return to the status quo, for many works of art did not return to their original locations.
But their rivalry also reflected genuine disagreements over the practice of connoisseurship; both sides laid claim to “scientific connoisseurship” and believed that their method depended on empirical evidence. What this actually meant for each side in this debate was quite different. While Morelli and Berenson condemned the use of elements extrinsic to the work of art in connoisseurship, Bode and his fellow Rembrandt connoisseurs approached Rembrandt’s art through the prism of the artist’s life events, incorporating biographical and documentary evidence into their practice of connoisseurship.