Overview

Rembrandt: Studies in his Varied Approaches to Italian Art explores his engagement with imagery by Italian masters. His references fall into three categories: pragmatic adaptations, critical commentary, and conceptual rivalry. These are not mutually exclusive but provide a strategy for discussion. This study also discusses Dutch artists’ attitudes toward traveling south, surveys contemporary literature praising and/or criticizing Rembrandt, and examines his art collection and how he used it. It includes an examination of the vocabulary used by Italians to describe Rembrandt’s art, with a focus on the patron Don Antonio Ruffo, and closes by considering the reception of his works by Italian artists.

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Reviews

Rembrandt himself never went to Italy, but his consciousness of Italian artists resonates throughout his work. That is the subject of this enlightening study by an accomplished scholar of Netherlandish art. Above all, the book reveals how Rembrandt drew ideas for his art from Italian masters, whose works were known to him primarily through prints, and transformed them into a distinct language of his own in a way that pays homage to his sources but with a twist of visual commentary [...] One can read the book as a series of essays or use it for reference with the benefit of its up-to-date bibliography. In sum: highly recommended. C. W. Talbot, emeritus, Trinity University. In: Choice Reviews, Vol. 58, No. 10 (June 2021). This publication is sure to be a necessary resource for any scholar looking to understand one of the most fertile and creative minds of the seventeenth century and the numerous influences that contributed to his endlessly compelling oeuvre. Jacquelyn Coutre, Art Institute of Chicago. In: Renaissance and Reformation, Vol. 44, No. 2 (2021), pp. 248-250.

Rembrandt himself never went to Italy, but his consciousness of Italian artists resonates throughout his work. That is the subject of this enlightening study by an accomplished scholar of Netherlandish art. Above all, the book reveals how Rembrandt drew ideas for his art from Italian masters, whose works were known to him primarily through prints, and transformed them into a distinct language of his own in a way that pays homage to his sources but with a twist of visual commentary [...] One can read the book as a series of essays or use it for reference with the benefit of its up-to-date bibliography. In sum: highly recommended. C. W. Talbot, emeritus, Trinity University. In: Choice Reviews, Vol. 58, No. 10 (June 2021). This publication is sure to be a necessary resource for any scholar looking to understand one of the most fertile and creative minds of the seventeenth century and the numerous influences that contributed to his endlessly compelling oeuvre. Jacquelyn Coutre, Art Institute of Chicago. In: Renaissance and Reformation, Vol. 44, No. 2 (2021), pp. 248-250. This is a generous book, clearly aimed at sharing the wealth of information and knowledge Golahny has amassed over the years and at offering a solid, balanced foundation on which future generations may develop new analyses and interpretations. With its comprehensive bibliography, thorough citations, and even explicit guidance on how Golahny's discussions relate to the existing literature, it is a highly valuable reference for any student of Rembrandt's work. Its ample illustrations support the author's visual arguments and make the book accessible to those less familiar with the material. Joanna Sheers Seidenstein, Harvard Art Museums. In: HNA Reviews, November 2021.

“Rembrandt himself never went to Italy, but his consciousness of Italian artists resonates throughout his work. That is the subject of this enlightening study by an accomplished scholar of Netherlandish art. Above all, the book reveals how Rembrandt drew ideas for his art from Italian masters, whose works were known to him primarily through prints, and transformed them into a distinct language of his own in a way that pays homage to his sources but with a twist of visual commentary […] One can read the book as a series of essays or use it for reference with the benefit of its up-to-date bibliography. In sum: highly recommended.” C. W. Talbot, emeritus, Trinity University. In: Choice Reviews, Vol. 58, No. 10 (June 2021). “This publication is sure to be a necessary resource for any scholar looking to understand one of the most fertile and creative minds of the seventeenth century and the numerous influences that contributed to his endlessly compelling oeuvre.” Jacquelyn Coutré, Art Institute of Chicago. In: Renaissance and Reformation, Vol. 44, No. 2 (2021), pp. 248–250. “This is a generous book, clearly aimed at sharing the wealth of information and knowledge Golahny has amassed over the years and at offering a solid, balanced foundation on which future generations may develop new analyses and interpretations. With its comprehensive bibliography, thorough citations, and even explicit guidance on how Golahny’s discussions relate to the existing literature, it is a highly valuable reference for any student of Rembrandt’s work. Its ample illustrations support the author’s visual arguments and make the book accessible to those less familiar with the material.” Joanna Sheers Seidenstein, Harvard Art Museums. In: HNA Reviews, November 2021.

Author Information

Amy Golahny is Richmond Professor Emerita at Lycoming College and Past President of the Historians of Netherlandish Art. She has published extensively on Pieter Lastman, Rembrandt, and other topics.

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