Fictions of the pose : Rembrandt against the Italian Renaissance
This lavishly illustrated reading of the structure and meaning of portraiture asks what happens when portraits are interpreted as imitations or likenesses not only of individuals but also of their acts of posing. Includes 84 illustrations, 40 in color.
Print Book, English, 2000
Stanford University Press, Stanford, Calif., 2000
History
xxi, 624 pages, 32 unnumbered pages of plates : illustrations ; 25 cm
9780804733236, 9780804733243, 0804733236, 0804733244
1001178443
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.
Includes index