Rembrandt an essay in the philosophy of art 1916

First are his assumptions about the psychological workings of social life.

Georg Simmel: Rembrandt

The stranger bears a certain objectivity that makes him a valuable member to the individual and society. Simmel was originally asked to lecture on the role of intellectual or scholarly life in the big city, but he effectively reversed the topic in order to analyze the effects of the big city on the mind of the individual.

Georg Simmel

Van Dyke, who wrote: This seems to be an essential part of society which becomes a structure. He found that things which were too close were not considered valuable and things which were too far for people to get were also not considered valuable.

In secret societies, groups are held together by the need to maintain the secret, a condition that also causes tension because the society relies on its sense of secrecy and exclusion. Simmel saw a general thread in the importance of secrets and the strategic use of ignorance: The painting shows none of the conspicuous attributes of scholarship or philosophy—books, globe, scientific instruments, etc.

Rembrandt: An Essay in the Philosophy of Art

The particular distance from a group allows a person to have objective relationships with different group members.

If everyone is known then there is no person that is able to bring something new to everybody. His father, Eduard Simmel, a convert to Roman Catholicismhad founded a successful chocolate factory, Felix und Sarottilater Sarotti Confections, and was a prosperous businessman.

Nevertheless, a plausible interpretation of the scene is Tobit and Anna waiting for the return of their only son, Tobias, a scene that Rembrandt had already represented in another version in David Bromford et al. As in the staircase and the basketwork tray at the center of the composition, the curved lines can be said to organize the straight lines.

Therefore, in an effort for the individual to cope with the larger group they must become a part of a smaller group such as the family. However, after its start, he was interested in its unfolding.

Jerome in particular provided the attributes for 17th-century representations of scholars in their study. It is possible to buy silence. In some societies, they were also employed as arbitrators and judges, because they were expected to treat rival factions in society with an impartial attitude.

Similar observations argue against identifying the main figure as an " alchemist ," a subject that would allow for other figures, such as an assistant tending a fire. The Rembrandt Research Project dismisses this evidence as "certainly incorrect since there are two women in the picture and there is no specific motif from the story of Tobias," Although his applications for vacant chairs at German universities were supported by Max WeberSimmel remained an academic outsider.

The Stranger is close to us, insofar as we feel between him and ourselves common features of a national, social, occupational, or generally human, nature. These objects and his solitude make him a much better candidate for philosophical endeavor than the old man in the alleged Philosopher in Meditation.

The series was conducted alongside the Dresden cities exhibition of However, with the support of an inheritance from his guardian, he was able to pursue his scholarly interests for many years without needing a salaried position. Until then, and except for the "heretical" John C.

This painting at the National Gallery in London has been re-attributed to Rembrandt, with a possible participation by his student at the time, Gerrit Dou.

Personal life[ edit ] InGeorg married Gertrud Kinel, a philosopher who published under the pseudonym Marie-Luise Enckendorf, and under her own name. II, Vienna and Leipzig, Only inwas he elevated to the rank of extraordinary professor full professor, but without a chair; see the German section at Professor.

On one hand he believed that the bigger the group the better for the individual. In larger groups secrets are needed as a result of their heterogeneity. As it was, he showed only a "lantern slide" of the companion painting by Salomon Koninck discussed above.

In spite of the obvious differences in the composition and execution, no one called its attribution to Rembrandt in doubt.He also wrote extensively on the philosophy of Schopenhauer and Nietzsche, as well on art, most notably his book Rembrandt: An Essay in the Philosophy of Art ().

Early life and education. Simmel was born in Berlin, Germany, as. A prolific painter, draftsman, and etcher, Rembrandt van Rijn is usually regarded as the greatest artist of Holland’s “Golden Age.” He worked first in his native Leiden and, from onward, in Amsterdam, where he had studied briefly (ca.

) with the influential history painter Pieter. Jan 09,  · He also wrote extensively on the philosophy of Schopenhauer and Nietzsche, as well on art, most notably his book ''Rembrandt: An Essay in the Philosophy of Art'' ().

First published in in German, this important work has never been translated into English–until now.

Georg Simmel: Rembrandt: An Essay in the Philosophy of Art

Simmel attacks such questions as "What do we see in a work of Art?". In all, Rembrandt produced around paintings, etchings, and 2, drawings.

He was a prolific painter of self-portraits, producing almost a hundred of them (including some 20 etchings) throughout his long career. Rembrandt essay Nevin 21/03/ Cleveland museum of a two-to-three-page words november Sutton takes a library is free revisions.

etching on life events of rembrandt s signature sprawling across dormire uccidere e nterprises, caravaggio's supper at half-length and painter, have 2.

Rembrandt an essay in the philosophy of art 1916
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