Pliny and the Dutch Guild<\/span><\/h1>\n[\/et_pb_text][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” custom_padding=”||1px|||” hover_enabled=”0″ global_colors_info=”{}” text_font=”|300|||||||” sticky_enabled=”0″]<\/p>\n
by David Molesky<\/p>\n
[\/et_pb_text][et_pb_post_title title=”off” meta=”off” _builder_version=”4.21.0″ _module_preset=”default” title_font_size=”30px” title_line_height=”2.5em” custom_margin=”||20px|||” global_colors_info=”{}”][\/et_pb_post_title][et_pb_text _builder_version=”4.21.0″ _module_preset=”default” text_font_size=”10px” text_line_height=”1em” text_orientation=”right” module_alignment=”center” custom_margin=”-12px|||||” locked=”off” global_colors_info=”{}”]<\/p>\n
Art Johans de Gelder<\/strong> \u2014 Self Portrait while drawing an old woman, 1685 | oil on linen,\u00a0 142 x 169 cm<\/span><\/p>\n[\/et_pb_text][et_pb_button button_text=”First published as \u201cPoets to Artists\u201d in TRACT \u2014 March 28, 2019″ _builder_version=”4.21.0″ _module_preset=”default” custom_button=”on” button_text_size=”12px” button_text_color=”#8F8F8F” button_border_width=”1px” button_use_icon=”off” locked=”off” global_colors_info=”{}”][\/et_pb_button][et_pb_text admin_label=”Text” _builder_version=”4.21.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_margin=”||-11px|||” hover_enabled=”0″ global_colors_info=”{}” text_font=”|300|||||||” sticky_enabled=”0″]<\/p>\n
As we know from evolutionary science, the human ability to believe in stories has made us the most successful species. Stories also play a crucial role in cultural development by providing structures and guidance for human behavior. And sometimes stories are simply a comfort or a beacon of hope. For representational painting and sculpture, stories have been a driving source of inspiration throughout time.\u00a0<\/p>\n
Along these lines, several contemporary figurative painters have recommended to me Stephen Greenblatt\u2019s book the Swerve<\/em>. Greenblatt writes beautifully about a book hunter named Poggio Bracciolini who discovers a copy of Lucretius’ On the Nature of Things<\/em> in a remote monastic library. This revived text brought the lost philosophy of Epicureanism to the Renaissance, influencing his contemporaries and world culture ever after. The rising tide of intellectual literacy resulted in certain texts from antiquity gaining wide distribution after the emergence of the printing press. One such text was Pliny the Elder\u2019s 37 book series, Natural Histories<\/em>, originally written in Latin in the first century AD. The books are wide in scope, but book XXXV largely focuses on anecdotes from the lives of the great painters of Greek antiquity. These texts, in addition to painted imitations excavated from the ashes of Vesuvius, are the only legacy that remains of the great painters of antiquity. From an oral tradition, Pliny recorded the fable-like accounts of Apelles, Zeuxis, Protogenes and many others. Pliny\u2019s description of competitions and revered painting qualities became of major interest to Titian, Velazquez, and in particular Rembrandt and his circle.\u00a0<\/p>\nThese texts are largely responsible for both Titian and Rembrandt\u2019s transition from the tight highly rendered technique to the looser, more atmospheric brushwork of late years. In many ways, Rembrandt is perhaps Titian\u2019s greatest pupil, even though he was born 30 years after Titian\u2019s death. Rembrandt was floored when he saw paintings by Titian that he had made after reading Pliny\u2019s accounts of ancient painters. This experience along with his own exploration of Pliny, influenced Rembrandt to transition from a style typical of his era to the paintings we immediately recognize as Rembrandt. This enthusiasm for the ancient masters was contagious and widespread in the 17th century. One of the best windows into this time was written by Rembrandt\u2019s pupil van Hoogstraten, who penned the so-called Inleyding tot de Houge Schoole der Schilderkonst<\/em>, which clearly illustrates the \u201cclassical fever\u201d of the time.<\/p>\nPliny\u2019s stories reveal that painting, although considered a craft in Baroque times, \u201cwas a business as good as, if not better than any other branch of applied knowledge.\u201d<\/em> Pliny\u2019s stories show that painting was an esteemed occupation and that painters came into the circles of great figures. Pliny\u2019s writing not only lifted the morale of the painter\u2019s pursuit, but it also seems to have inspired the invention of Flemish equivalents to ancient painting terminology.<\/p>\nIn a famous passage, van Hoogstraten recounts the competition held between Porcellis, Van Goyen, Kripbergen. The hierarchies of qualities considered in the judgment of his contemporaries\u2019 paintings are nearly identical to those found in Natural Histories.<\/em> In other words, Hoogstraten has taken Pliny\u2019s concepts and applied them to his circle of friends. Whether or not these stories are accurate is not the point – Pliny\u2019s text has provided a structure for comparing the talents of different individuals.\u00a0<\/p>\nNatural Histories<\/em> also appears to be the source of favored qualities and technical approaches to painting used by Rembrandt and his circle \u2013 in particular, roughness, dark glazes, and the four-color palette. Pliny advocates the appeal of unfinished works, stating that they are often more admired than those that are finished because in them the artists\u2019 actual thoughts are left visible. Rembrandt and his circle interpreted this to mean that the paintings were executed loosely with large brushes and with elements of drawing with paint still visible. This view is exemplified in Rembrandt\u2019s roughest self-portrait as Zeuxis Laughing<\/em> (1662).\u00a0<\/span><\/p>\nMany other characteristics found in Rembrandt\u2019s late works can be sourced directly to Pliny\u2019s accounts of Apelles, who has been revered throughout history as the \u201cPrince of Painters.\u201d Pliny suggests that there never had been, nor ever would be as great a painter. With no examples of his work remaining, Apelles is given a godlike status and the descriptions of his painterly approaches read like religious doctrine, and one could consider its followers the Cult of Apelles. Rembrandt fancied himself as the Apelles of his time. Pliny\u2019s description of Apelles\u2019 use of a subtle and limited palette made of just white, black, and two colors \u2013 red and yellow \u2013 is easily seen in Rembrandt\u2019s\u2019 late approach and that of others who have followed (Velazquez, Zorn, and Nerdrum to name a few).<\/p>\n
Pliny also describes Apelles\u2019 use of a dark glaze to soften colors and to push objects back in space. This idea seems to have had the greatest effect on the late periods of Rembrandt (as well as Titian and Nerdrum). Van Hoogstraten illustrates the concept beautifully with nature: a dark fish is darkest when it is closest to the surface. This approach to glazing can create atmosphere, the air between objects and the viewer (oknelijkheyt<\/em>). Rough texture, contrast, and color can give the eye something to grab hold of increasing its perceptibility (kenlijkheyt<\/em>). The Flemish were fantastic at building the illusion of three-dimensional space on a two-dimensional surface, the quality they called houding, which was the subject of many painting competitions. These approaches to painting that the Flemish gathered from Pliny, made them some of history\u2019s greatest innovators of representational painting. Perhaps, they believed as did Salutati, a Renaissance contemporary of Petrarch, that \u201cI must imitate antiquity not simply to reproduce it, but in order to produce something new.\u201d<\/em><\/p>\nUnfortunately, Rembrandt\u2019s obsession with antiquity, especially in his late paintings, is made less obvious to posterity through the continued use of \u201cnicknames\u201d given to these paintings by others. In my next essay, \u201cThe Lost Motifs of Rembrandt\u2019s Late Pictures,\u201d<\/em> I will discuss how Pliny\u2019s Natural Histories<\/em> directly inspired the motifs of two of my favorite Rembrandt paintings housed in New York City at the Metropolitan Museum of Art and the Frick Collection.<\/p>\n[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"
TRACT<\/p>\n","protected":false},"author":7,"featured_media":1599,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[28],"tags":[],"class_list":["post-1597","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-writings"],"yoast_head":"\n
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