History of Art Graduate Department of Art

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Rembrandt’s ‘maniera bizzarrissima’ and the origins of print connoisseurship

March 2 @ 3:30 pm - 5:00 pm UTC+0

Rembrandt’s ‘maniera bizzarrissima’ and the origins of print connoisseurship
Stephanie S. Dickey
Professor of Art History and Bader Chair in Northern Baroque Art, Queen’s University

Friday, March 2, 2018, 3:30 pm – 5:00 pm
Northrop Frye, Room 205
73 Queen’s Park Crescent East, Toronto, ON

Rembrandt’s etchings have always occupied a singular place in the history of graphic art. In an era when most artists sought to exploit the unprecedented potential of printmaking for creating what William Ivins perceptively calls ‘exactly repeatable pictorial statements’, Rembrandt printed his plates like individual works of art, varying the effects of inking, experimenting with different paper types, and altering plates from one state to the next with changes that ranged from radical to barely perceptible. These creative variations posed special problems for critics and collectors that were recognized almost immediately by writers on the new medium. This paper, part of a larger study on Rembrandt and the history of print connoisseurship, examines the collecting and reception of Rembrandt’s paper art in the 17th and early 18th centuries, both in the Netherlands and abroad, and its role in the development of aesthetic and critical appreciation for printed images.


March 2
3:30 pm - 5:00 pm


Centre for Renaissance and Reformation Studies (CRRS)

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