| Description |
xxi, 624 pages, 32 unnumbered pages of plates : colour illustrations ; 27 cm |
| Contents |
Machine derived contents note: Introduction -- Part I. Early Modern Technologies and Politics of Representation and Their Consequences: 1. Technologies: the system of early modern painting -- 2. Politics: the apparatus of commissioned portraiture -- 3. Consequences: Sprezzatura and the Anxiety of self-representation -- Part II. Facing the Gaze: 4. The face as index of the mind: art historians and the physiognomic fallacy -- 5. Physiognomy, mimetic idealism, and social change -- 6. Elias on physiognomic skepticism: Homo Clausus and the anxiety of representation -- 7. Lacan on the narcissism of orthopsychic desire -- 8. Fictions of the pose (1): the fiction of objectivity -- 9. Fictions of the pose (2): representing orthopsychic desire -- Part III. The Embarrassment of Poses: On Dutch Portraiture: 10. Local matters -- 11. The posography of embarrassment: representational strategies in a decentralized class society -- 13. Rembrandt's embarrassment: an anatomy of group portraiture -- Part IV. Rembrandt's Looking-Glass Theater: 14. Methodological interlude II: on self-portraits -- 15. Good boys and bad: orthopsychic comedy in the early self-portraits -- 16. Marking time: revisionary allusion in specular fictions -- 17. Rembrandt as Burgher: waiting for Maerten Soolmans -- 18. Methodological interlude III: texture versus facture -- 19. Specular fictions in two etchings -- 20. Married with Peacock: Saskia in Rembrandt's looking-glass theater -- 21. Methodological interlude IV: on revisionary allusion - Rembrandt against the Italian Renaissance -- 22. Rembrandt as courtier -- 23. Rembrandt in chains: the Medici self-portrait -- 24. Rembrandt in Venice: the patriarch -- 25. (Ef)facing the hand -- 26. The last laugh: or, something more |
| Summary |
"The book is in four parts. Parts One and Two comprise an interpretive study of the technical and sociopolitical conditions within which portraiture becomes an important if problematic medium of self-representation in early modern Europe. The major portion of these two sections considers the structure and the consequences of a system of practices and conventions that governs poses in commissioned portraits. In Part Three the scene shifts from Italian to Dutch portraiture. Part Four is devoted to self-portraits by Rembrandt that are interpreted as responses to the conditions depicted in the first three parts. Through a series of close readings of individual works, the author demonstrates the ironic, polemical, and political force of Rembrant's self-portraits."--BOOK JACKET |
| Bibliography |
Includes bibliographical references (pages 515-610) and indexes |
| Subject |
Rembrandt Harmenszoon van Rijn, 1606-1669 -- Self-portraits.
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Portrait painting -- Psychological aspects -- History.
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| Genre/Form |
History.
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Self-portraits.
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Portraits.
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| LC no. |
99039775 |
| ISBN |
0804733236 (hardback) |
|
0804733244 (paperback) |
|
9780804733243 (paperback) |
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