Rembrandt Warning: You are not logged in. Your IP address will be publicly visible if you make any edits. If you log in or create an account, your edits will be attributed to your username, along with other benefits.Anti-spam check. Do not fill this in! ===Criticism of Rembrandt=== [[File:Rembrandt Memorial Marker Westerkerk Amsterdam.jpg|thumb|upright=1|Rembrandt Memorial Marker in the [[Westerkerk]] section of Amsterdam]] Rembrandt has also been one of the most controversial (visual) artists in history.<ref name="Slive" /><ref name="Białostocki" /> Several of Rembrandt's notable critics include [[Constantijn Huygens]], [[Joachim von Sandrart]],<ref name="LivesRembrandt" /> [[:nl:Andries Pels (1631-1681)|Andries Pels]] (who called Rembrandt "the first heretic in the art of painting"),<ref>Muller, Sheila D. (ed.): ''Dutch Art: An Encyclopedia''. (New York: Garland Pub., 1997), p. 178</ref> [[Samuel van Hoogstraten]], [[Arnold Houbraken]],<ref name="LivesRembrandt">[[Joachim von Sandrart|Von Sandrart, Joachim]]; [[Filippo Baldinucci|Baldinucci, Filippo]]; [[Arnold Houbraken|Houbraken, Arnold]]: ''Lives of Rembrandt'' [Lives of the Artists]. Introduced by Charles Ford. (Los Angeles, CA: [[J. Paul Getty Museum]], 2018) {{ISBN|978-1606065624}}</ref> [[Filippo Baldinucci]],<ref name="LivesRembrandt" /> [[Gerard de Lairesse]], [[Roger de Piles]], [[John Ruskin]],<ref name="Ruskin">Nichols, Aidan: ''All Great Art is Praise: Art and Religion in John Ruskin''. (Washington, D.C.: The Catholic University of America Press, 2016), p. 454. In [[John Ruskin|Ruskin]]' words, "It is the aim of the best painters to paint the noblest things they can see by sunlight. It was the aim of Rembrandt to paint the foulest things he could see—by rushlight."</ref> and [[Eugène Fromentin]]:<ref name="Białostocki" /> {{Cquote|By 1875 Rembrandt was already a powerful figure, projecting from historical past into the present with such a strength that he could not be simply overlooked or passed by. The great shadow of the old master required a decided attitude. A late [[Romantic painting|Romantic painter]] and critic, like [[Eugène Fromentin|Fromentin]] was, if he happened not to like some of Rembrandt's pictures, he felt obliged to justify his feeling. The greatness of the dramatic old master was for artists of about 1875 not a matter for doubt. 'Either I am wrong', Fromentin wrote from Holland 'or everybody else is wrong'. When Fromentin realized his inability to like some of the works by Rembrandt he formulated the following comments: 'I even do not dare to write down such a blasphemy; I would get ridiculed if this is disclosed'. Only about twenty-five years earlier another French Romantic master [[Eugène Delacroix]], when expressing his admiration for Rembrandt, has written in his ''Journal'' a very different statement: '... perhaps one day we will discover that Rembrandt is a much greater painter than [[Raphael]]. It is a blasphemy which would make hair raise on the heads of all the academic painters'. In 1851 the blasphemy was to put Rembrandt above Raphael. In 1875 the blasphemy was not to admire everything Rembrandt had ever produced. Between these two dates, the appreciation of Rembrandt reached its turning point and since that time he was never deprived of the high rank in the art world.|200px||Rembrandt scholar [[Jan Białostocki]] (1972)<ref name="Białostocki">[[Jan Białostocki|Białostocki, Jan]] (1972), 'Rembrandt and Posterity,'. Nederlands Kunsthistorisch Jaarboek 23 (1972): 131–157. {{JSTOR|24705655}}</ref>}} Summary: Please note that all contributions to Christianpedia may be edited, altered, or removed by other contributors. If you do not want your writing to be edited mercilessly, then do not submit it here. You are also promising us that you wrote this yourself, or copied it from a public domain or similar free resource (see Christianpedia:Copyrights for details). Do not submit copyrighted work without permission! Cancel Editing help (opens in new window) Discuss this page