Саймон Шама - Глаза Рембрандта

Bergstrom Ingvar . Rembrandt’s Double-Portrait of Himself and Saskia at the Dresden Gallery // Nederlands Kunsthistorisch Jaarboek 17 (1966): 143–169; Brilliant Richard . Portraiture, Cambridge, Mass., 1991; Perry Chapman H . Rembrandt’s Self-portraits: A Study in Seventeenth-Century Identity, Princeton, 1990; Dudok van Heel Sebastiaan Abraham Cornelis . Mr. Joannes Wtenbogaert (1608–1680): Een man uit Remonstrants milieu en Rembrandt van Rijn // Jaarboek Amstelodamum 70 (1978): 146–169; Eeghen Isabella Henriette van . Martens en Herman Doomes // Maandblad Amstelodamum 43 (October 1956): 133–137; Emmens Jan A . «Ay, Rembrandt, maal Cornells stem» // Idem . Kunsthistorische Opstelling. Vol. 1. Amsterdam, 1981. P. 20; Frerichs L. C. J. De schetsbladen van Rembrandt voor het schilderij van het echtpaar Anslo // Maandblad Amstelodamum 56 (Oct. 1969): 206–211; Freedman Luba . Rembrandt’s Portrait of Jan Six // Artibus et Historiae 12 (1985): 89–105; Gelder Hendrik Enno van . Rembrandt’s portretjes van M. Huygens en J. de Gheyn III // Oud Holland 68 (1953): 107; Gerson Horst . Rembrandt’s portret van Amalia van Solms // Oud Holland (1984): 244–249; Gombrich Ernst H . The Mask and the Face: The Perception of Physiognomic Likeness in Life and Art // The Image and the Eye. London, 1982. P. 104–136; Grimm Claus . Rembrandt Selbst: Eine Neubewertung seiner Porträtkunst. Stuttgart; Zurich, 1991; Haverkamp-Begemann Egbert . Rembrandt: «The Night Watch». Princeton, 1982; Heckscher William S . Rembrandt’s «Anatomy of Dr. Nicolaas Tulp»: An Iconological Study. New York, 1958; Jongh Eddy de . The Spur of Wit: Rembrandt’s Response to an Italian Challenge // Delta 12 (1969): 49–67; Middelkoop Norbert et al . Rembrandt under the Scalpel: Exhibition catalogue. The Hague: Mauritshuis, 1998; Riegl Alois . Das holländische Gruppenporträt / Ed. L. Munz: 2 vols. Vienna, 1931; Schneider Cynthia P . Death by Interpretation: Rembrandt’s «Girl with Dead Peacocks» // Rembrandt and His Pupils / Ed. Görel Cavalli-Björkman. Stockholm, 1993. P. 55–67; Idem . Rembrandt Reversed: Reflections on the Early Self-portrait Etchings // Shop Talk: Studies in Honour of Seymour Slive / Ed. Cynthia Schneider, William Robinson, Alice Davies, Cambridge, Mass., 1995. P. 224–226; Schupbach William . The Paradox of Rembrandt’s «Anatomy of Dr. Tulp». London, 1982; Six Jan . Jan Six aan het venster (Jan Six at the Window) // Kroniek van het Rembrandthuis 23 (1969): 34–36, 68–69; Slive Seymour . Rembrandt’s «Self-portrait in a Studio» // Burlington Magazine 106 (1964): 483–486; Smith David R . «I Janus»: Privacy and the Gentlemanly Ideal in Rembrandt’s Portraits of Jan Six // Art History 11 (Mar. 1988): 42–63; Stoichita Victor I . The Self-aware Image: An Insight into Early Modern Meta-painting / Trans. Anne-Marie Glasheen. Cambridge, 1997; Sullivan Scott A . Rembrandt’s «Self-portrait with Dead Bittern» // Art Bulletin 62 (1980): 136–143; Tümpel Christian . De Amsterdamse schutter-stukken // Schutters in Holland / Ed. Marijke Carasso-Kok, Jacoba Levy-van Halm: Exhibition catalogue. Zwolle, 1988. P. 74–103; Wheelock Jr. Arthur K. Rembrandt Self-portraits: The Creation of a Myth // Papers in Art History from the Pennsylvania State University 11 (1999): 3–35.

Bruyn Josua . Rembrandt’s keuze van Bijbelse onderwerpen, Utrecht, 1959; Gage John . A Note on Rembrandt’s «Meeste Ende die Naetureelste Beweechgelickheijt» // Burlington Magazine 111 (Mar. 1976): 128–138; Halewood William H . Six Subjects of Reformation Art: A Preface to Rembrandt. Toronto, 1982; Visser ‘t Hooft William . Rembrandt and the Gospel. London, 1957; Manke Use . Zu Rembrandts «Jakobsegen» in der Kasseler Galerie // Zeitschrift für Kunstgeschichte 23 (1960): 252–260; Rijckevorsel Joannes Leo Antonius Aloysius Maria van . Rembrandt en de Traditie. Rotterdam, 1932; Russell Margarita . The Iconography of Rembrandt’s «Rape of Ganymede» // Simiolus (1977): 5–18; Sass Else Kai . Comments on Rembrandt’s Passion Paintings and Constantin Huygens’ Iconography // Det kon-gelige danske videnskabernes selskab: Historisk-filosofiske skrifter 5.3 (Copenhagen, 1971); Slive Seymour . Notes on the Relationship of Protestantism to Seventeenth-Century Dutch Painting // Art Quarterly 19 (1956): 2–15; Stechow Wolfgang . Rembrandt’s Representations of the «Raising of Lazarus» // Bulletin of the Los Angeles County Museum (1973): 7–11; Tümpel Astrid, Tümpel Сhristian . Rembrandt legt die Bibel aus. Berlin, 1970; Tümpel Сhristian . Studien zur Ikonographie der Historien Rembrandts // Nederlands Kunsthistorisch Jaarboek 29 (1969): 107–198; Wheelock Jr. Arthur K . Rembrandt and the Rembrandt School // Gods, Saints and Heroes: Dutch Painting in the Age of Rembrandt / Ed. Albert Blankert et al.: Exhibition catalogue. Washington D. C.; Detroit; Amsterdam: National Gallery of Art, Detroit Institute of Arts, and Rijksmuseum, 1981. P. 137–182.

Bal Mieke . Reading Rembrandt: Beyond the Word-Image Opposition. Cambridge, 1991; Derrida Jacques . Memoirs of the Blind: The Self-portrait and Other Ruins / Trans. Pascale-Anne Brault, Michael Naas. Chicago; London, 1973; Heinemann M. H ., Pinell-Staehle H. C . Rembrandt van Rijn and Cataract Surgery in Seventeenth-Century Amsterdam // Historia Ophthalmologica Internationalis 2 (1981): 85–93; Held Julius S. Rembrandt and the Book of Tobit // Rembrandt Studies, Princeton, 1991. P. 118–143; Hellerstedt Kahren Jones . The Blind Man and His Guide in Netherlandish Painting // Simiolus 13 (1983): 163–181; Manuth Volker . Die Augen des Sünders – Überlegungen zu Rembrandts «Blendung Samsons» von 1636 in Frankfurt // Artibus et Historiae 21 (1990): 169–198; Trevor-Roper Patrick . The World Through Blunted Sight. London, 1970.

Rembrandt’s «Bathsheba Reading King David’s Letter» / Ed. Ann Jensen Adams. Cambridge, 1998; Aleschina Tatiana Pavlovna . Some Problems Concerning the Restoration of Rembrandt’s Painting «Danaë» // Rembrandt and His Pupils / Ed. Görel Cavalli-Björkman. Stockholm, 1993, 223–234; Clark Kenneth . The Nude: A Study in Ideal Form. New York, 1956 ( Кеннет Кларк. Нагота в искусстве. Исследование идеальной формы / Перевод М. В. Куренной, И. В. Кытмановой, А. Т. Толстовой. СПб., 2004); Eisler Colin . Rembrandt and Bathsheba // Essays in Northern European Art Presented to Egbert Haverkamp-Begemann on His Sixtieth Birthday / Ed. Anne-Marie Logan. Doorspijk, 1983. P. 84–88; Panofsky Erwin . Der gefesselte Eros: Zur Genealogie von Rembrandts «Danaë» // Oud Holland 50 (1933): 193–217; Schama Simon . Rembrandt and Women // Bulletin of the American Academy of Arts and Sciences 38 (1985); Sluiter Eric J . Rembrandt’s Early Paintings of the Female Nude: Andromeda and Susanna // Rembrandt and His Pupils / Ed. Görel Cavalli-Björkman, Stockholm, 1993. P. 31–54; Sokolowa Irina et al . Danaë. St. Petersburg, 1998.

Ackley Clifford S . Printmaking in the Age of Rembrandt: Exhibition catalogue. Boston: Museum of Fine Arts, 1981; Boon Karel Gerard . Rembrandt: The Complete Etchings: 2 vols. London; New York, 1952; Cafritz Robert С . Reverberations of Venetian Graphics in Rembrandt’s Pastoral Landscapes // Cafritz Robert C ., Gowing Lawrence, Rosand David . Places of Delight: The Pastoral Landscape: Exhibition catalogue. Washington, D. C.: The Phillips Collection and National Gallery of Art, 1988, P. 130–147; Freedberg David . Dutch Landscape Prints, London, 1980; McNeil Kettering Alison . Rembrandt’s «Flute Player»: Unique Treatment of the Pastoral // Simiolus 9 (1977): 19–44; Idem . The Dutch Arcadia: Pastoral Art and Its Audience in the Golden Age. Totowa; Montclair, N. J., 1983; Lugt Frits . Mit Rembrandt in Amsterdam, Berlin, 1920; Schneider Cynthia et al . Rembrandt’s Landscapes. New Haven; London, 1990; Idem . Rembrandt’s Landscapes: Drawings and Prints: Exhibition catalogue. Washington, D.C.: National Gallery of Art, 1990; Sluiter Eric Jan . De entree van de amoureuze herdersidylle in de Noord-Nederlandse prenten schilderkunst // Het Gedroomde Land: Pastorale Schilderkunst in de Gouden Eeuw / Ed. Peter van den Brink. Utrecht, 1993; Stone-Ferrier Linda . Rembrandt’s Landscape Etchings: Defying Modernity’s Encroachments // Art History 15 (Dec. 1992): 403–433; Rembrandt: Experimental Etcher: Exhibition catalogue. Boston: Museum of Fine Arts; New York: Hacker Art Books, 1988; White Christopher . Rembrandt as Etcher: A Study of the Artist at Work: 2 vols. London, 1989.

Головоломной и загадочной проблеме, как отличить картины и рисунки Рембрандта от произведений его учеников, ассистентов и подражателей, в последнее время были посвящены ряд крупных выставок и их каталогов. См. в особенности: The Impact of a Genius: Rembrandt, His Pupils and Followers in the Seventeenth Century. Amsterdam: Rijksmuseum; Berlin: Gemäldegalerie: London: Royal Academy, 1983; Rembrandt: The Master and His Workshop: 2 vols., New Haven; London, 1991; Cavalli-Björkman Görel, Blankert Albert, Liedtke Walter et al . Rembrandt and His Pupils / Ed. Görel Cavalli-Björkman, Stockholm, 1993; Sonneburg Hubert von, Liedtke Walter . Rembrandt/Not Rembrandt: 2 vols. New York: Metropolitan Museum of Art, 1995; Rembrandt: A Genius and His Impact, National Gallery of Victoria. Melbourne; Zwolle, 1997. См. также: Gerson Horst . Rembrandt’s Workshop and Assistants // Rembrandt after Three Hundred Years: A Symposium. Chicago, 1973. P. 19–31; Janssen Paul Huys, Sumowski Werner . The Hoogstede Exhibition of Rembrandt’s Academy. Zwolle, 1992. Наиболее авторитетным справочным изданием, посвященным «школе» Рембрандта, следует считать работу Вернера Зумовски: Sumowski Werner . Gemälde der Rembrandt-Schüler. Vol. 1, Landau, 1983. Из недавних исследований необходимо отметить содержательную статью Вальтера Лидтке: Liedtke Walter . Reconstructing Rembrandt and His Circle: More on the Workshop Hypotheses // Papers in Art History from the Pennsylvania State University 11 (1999): 38–60.

Alpers Svetlana . Rembrandt’s «Claudius Civilis» // Rembrandt and His Pupils / Ed. Görel Cavalli-Björkman. Stockholm, 1993. P. 14–30; Bailey Anthony . Response to Rembrandt: Who Painted «The Polish Rider»? A Controversy Considered. New York, 1994; Biatostocki Jan . Rembrandt’s «Eques Polonus» // Oud Holland 84 (1969): 163–176; Benesch Otto . Wordly and Religious Portraits in Rembrandt’s Late Art // Art Quarterly 19 (1956): 335–355; Blankert Albert . Rembrandt, Zeuxis, and Ideal Beauty // Album Amicorum Jan Gerrit van Gelder. The Hague, 1973. P. 32–39; Broos Ben P. J. Rembrandt’s Portrait of a Pole and His Horse // Simiolus 7 (1974): 192–218; Deutsch-Carroll Margaret . Civic Ideology and Its Subversion: Rembrandt’s «Oath of Claudius Civilis» // Art History 9 (1986): 12–35; Manke Ilse . Zu Rembrandt’s «Jakobsegen» in der Kasseler Galerie // Zeitschrift für Kunstgeschichte 23 (1960): 252–260; Nordenfalk Carl . The Batavians’ Oath of Allegiance. Stockholm, 1982; Schwartz Gary . Appelles, Apollo en the Third Man: Schilderkunst, letterkunde en politiek rond 1650 // De Zeventiende Eeuw 11 (1995): 124–130; Stechow Wolfgang . Jacob Blessing the Sons of Joseph: From Early Christian Times to Rembrandt // Gazette des Beaux Arts 23 (1943): 193–208; Waal Henri van de . The Staalmeesters and Their Legend // Idem . Steps Towards Rembrandt. Amsterdam; London, 1974. P. 247–275.