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Extra info for Rembrandt, Reputation, and the Practice of Connoisseurship
Wer ist Rembrandt? used to be greatly mentioned within the renowned press, to the dismay or even disgust of Rembrandt students. forty Bode, Bredius, and Hofstede de Groot all weighed in opposed to the e-book, but maintained that they wouldn't have even deigned to recognize it had it now not completed any such common or even confident reception. For them, the professionalism of Rembrandt stories and the sphere of paintings background itself have been at stake, and needed to be defended from the misunderstandings and whims of the general public, in addition to from the amateur’s shoddy paintings itself. Bredius released numerous short discussions of Wer ist Rembrandt? in De Nederlandsche Spectator through the spring of 1891. whereas his tone from the 1st used to be contemptuous and dismissive, after a time a touch of alarm started to who's rembrandt? 117 * Scallen V5 02-02-2004 17:01 Pagina 118 (Zwart/Process Black Plaat) input to boot. In his first become aware of at the e-book, entitled “Who is Max Lautner? ” (playing on either the book’s name and the author’s loss of prestige on the earth of Rembrandt scholarship), Bredius felt loose to name the ebook “horrible” and nearly the paintings of an insane individual: this regardless of admitting that he had but to complete studying the textual content. forty-one He criticized the most obvious weaknesses in Lautner’s e-book: his claims concerning the authorship of The evening Watch, his rivalry concerning the latent signatures of Bol’s, his faulty makes an attempt to examine Rembrandt’s source of revenue. finest, although, used to be Bredius’s inclusion of a letter he had despatched to “Dr. von Seydewitz” (actually Robert Graf von Zedlitz und Trüschler), the govt legitimate in Germany who had supported Lautner’s efforts to post the ebook. forty two This letter takes up the bigger a part of the assessment, and divulges Bredius’s anxiousness approximately what the ebook may accomplish. caution Zedlitz that this type of publication, even whereas it might be confirmed invalid through different students, may nonetheless liberate a type of “poison,” he said that Lautner had no experience of pictorial wisdom, that's, no skill to hold out the type of connoisseurship required to tell apart one master’s paintings from one other. As different reviewers may additionally do, Bredius admitted that one of several work attributed to Rembrandt a few by way of Bol have been more likely to be chanced on, yet referred to as this “an outdated tale” through 1891, and never one requiring a 500-page ebook. Bredius protested, with cause, that Lautner proclaimed any photo that didn't healthy his concept a forgery, which, as Bredius said, was once essentially now not a “scientific” approach of operating. Bredius was once outraged by means of Lautner’s illustration of an immoral, venal Rembrandt, and protested that the simple-minded estimation of Rembrandt’s wealth didn't examine the works Rembrandt painted “only for himself, just for artwork, for which he on my own lived, which to him was once an important factor, even above [his love for] Saskia and Hendrickje. ” forty three in a single feel Bredius argued utilizing Lautner’s personal strategies: to wrestle the relevance of Lautner’s cost approximately Rembrandt’s loss of morals, Bredius insisted that Bol used to be it seems that additionally no paragon of advantage, utilizing a rfile approximately an illegitimate baby born in Bol’s family as proof that the then single artist had engaged in extramarital intercourse.