Fictions of the Pose: Rembrandt Against the Italian Renaissance

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Overview


“Specialists in the field should be interested in Berger’s re-interpretation of particular portraits by Rembrandt and other artists. . . . More general readers can benefit from these summaries. . . .”—Canadian Journal of History
“Berger comes to art history from outside of art history, like fresh air through an open window.”—Common Knowledge
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Editorial Reviews

From the Publisher

"Specialists in the field should be interested in Berger's re-interpretation of particular portraits by Rembrandt and other artists. . . . More general readers can benefit from these summaries. . . ."—Canadian Journal of History

"Berger comes to art history from outside of art history, like fresh air through an open window."—Common Knowledge

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Product Details

  • ISBN-13: 9780804733243
  • Publisher: Stanford University Press
  • Publication date: 3/28/2000
  • Edition description: 1
  • Pages: 656
  • Product dimensions: 7.38 (w) x 10.00 (h) x 1.50 (d)

Meet the Author


Harry Berger, Jr., is Professor Emeritus of Literature and Art History at the University of California, Santa Cruz. He is the author, most recently, of Making Trifles of Terrors: Redistributing Complicities in Shakespeare (Stanford, 1997).
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Table of Contents

Illustrations
Introduction 1
Pt. 1 Early Modern Technologies and Politics of Representation and Their Consequences
1 Technologies: The System of Early Modern Painting 35
2 Politics: The Apparatus of Commissioned Portraiture 77
3 Consequences: Sprezzatura and the Anxiety of Self-Representation 95
Pt. 2 Facing the Gaze
4 The Face as Index of the Mind: Art Historians and the Physiognomic Fallacy 107
5 Physiognomy, Mimetic Idealism, and Social Change 119
6 Elias on Physiognomic Skepticism: Homo Clausus and the Anxiety of Representation 137
7 Lacan on the Narcissism of Orthopsychic Desire 155
8 Fictions of the Pose (1): The Fiction of Objectivity 171
9 Fictions of the Pose (2): Representing Orthopsychic Desire 197
Pt. 3 The Embarrassment of Poses: On Dutch Portraiture
10 Local Matters 233
11 The Posography of Embarrassment: Representational Strategies in a Decentralized Class Society 265
12 Methodological Interlude I: Toward Group Portraiture 319
13 Rembrandt's Embarrassment: An Anatomy of Group Portraiture 329
Pt. 4 Rembrandt's Looking-Glass Theater
14 Methodological Interlude II: On Self-Portraits 351
15 Good Boys and Bad: Orthopsychic Comedy in the Early Self-Portraits 359
16 Marking Time: Revisionary Allusion in Specular Fictions 377
17 Rembrandt as Burgher: Waiting for Maerten Soolmans 383
18 Methodological Interlude III: Texture Versus Facture 389
19 Specular Fictions in Two Etchings 395
20 Married, with Peacock: Saskia in Rembrandt's Looking-Glass Theater 405
21 Methodological Interlude IV: On Revisionary Allusion - Rembrandt Against the Italian Renaissance 427
22 Rembrandt as Courtier 463
23 Rembrandt in Chains: The Medici Self-Portrait 475
24 Rembrandt in Venice: The Patriarch 479
25 (Ef)facing the Hand 497
26 The Last Laugh; or, Something More 505
Notes 515
Index of Plates and Figures 611
Subject Index 615
Names Index 619
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