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The romantic and enigmatic character of this picture has inspired many theories about its subject, meaning, history, and even its attribution to Rembrandt. Several portrait identifications have been proposed, including an ancestor of the Polish Oginski family, which owned the painting in the eighteenth century, and the Polish Socinian theologian Jonasz Szlichtyng. The rider's costume, his weapons, and the breed of his horse have also been claimed as Polish. But if The Polish Rider is a portrait, it certainly breaks with tradition. Equestrian portraits are not common in seventeenth-century Dutch art, and furthermore, in the traditional equestrian portrait the rider is fashionably dressed and his mount is spirited and well-bred. The painting may instead portray a character from history or literature, and many possibilities have been proposed. Candidates range from the Prodigal Son to Gysbrech van Amstel, a hero of Dutch medieval history, and from the Old Testament David to the Mongolian warrior Tamerlane. It is possible that Rembrandt intended simply to represent a foreign soldier, a theme popular in his time in European art, especially in prints. Nevertheless, Rembrandt's intentions in The Polish Rider seem clearly to transcend a simple expression of delight in the exotic. The painting has also been described as a latter-day Miles Christianus (Soldier of Christ), an apotheosis of the mounted soldiers who were still defending Eastern Europe against the Turks in the seventeenth century. Many have felt that the youthful rider faces unknown dangers in the strange and somber landscape, with its mountainous rocks crowned by a mysterious building, its dark water, and the distant flare of a fire.
In the winter of 2015, Ben Lerner wrote a short story, 'The Polish rider', incorporating fictionalized elements of the life and work of the artist Anna Ostoya, who had recently lost two of her canvases in the back of an Uber. As the narrator of the story helps the artist search for the missing canvases, he fantasizes about "recuperating the lost paintings through prose," about how the verbal might take the place of the visual. After the story was published in 'The New Yorker', Ostoya painted the painting Lerner had invented based on her earlier work, transforming the fiction without changing any of the words. Ostoya went on to produce a series of compositions that respond to the story she'd helped inspire. 'The Polish Rider' is the result of this ongoing conversation across media and genres. In addition to the story, this volume includes an essay by Lerner that describes how Ostoya's actual body of work catalyzed the fiction, as well as the contingencies and uncanny correspondences that have shaped their exchange. Ostoya's compositions -- both those that prompted Lerner's writing and those that take it up -- are never merely illustrative. Instead, they keep literature from having the last word. In this unclassifiable volume, the boundaries between fact and fiction, original and reproduction, text and image, flicker as you read and look.
In 1968, a group of Dutch scholars known as the Rembrandt Research Project, feeling that the master's oeuvre was inflated, began to take Rembrandt to task. The group's members traveled around the world, subjecting Rembrandt to intense scrutiny: they x-rayed paintings; examined the rendering of lace, hands, and signatures; counted threads of warp and woof. Paintings long considered Rembrandts started to fall. Then, in 1984, one of the members of the Project suggested, in print, that The Polish Rider might be next. Perhaps this painting, "one of the world's masterpieces," wasn't a Rembrandt after all but the work of a lesser-known pupil, Willem Drost.
Examines the causes, circumstances, and effects of the 1656 bankruptcy by Rembrandt van Rijn.
SALTZMAN/OLD MASTERS; NEW WORLD
This richly illustrated collection of essays represents the fruit of a life-long occupation with Rembrandt on the part of one of the foremost authorities on Dutch and Flemish art. Concentrating on either a single painting or an iconographically related group of paintings, Julius S. Held examines the processes, some perhaps even unconscious, that underlie Rembrandt's highly personal works. To his previously published essays--"Aristotle," "The "Polish' Rider," "Juno," "Rembrandt and the Book of Tobit," and "Rembrandt: Truth and Legend"--the author adds an essay on the theme of the Beggar, another one on subjects involving words spoken, and a new introduction discussing some current trends in Rembrandt criticism. From reviews of the previous edition: "There is a freshness of approach in Professor Held's writing, and his concern with interpretation rather than connoisseurship succeeds in stimulating the reader to think about the paintings, however familiar they may be to us." --Christopher White, Apollo "To look at [these paintings] under Held's very expert guidance is to penetrate more deeply into the problems of Rembrandt's oeuvre than if we plough through the bulkier monographs." --E. H. Gombrich, The New York Review of Books
A rich, penetrating memoir about the author's relationship with a flawed but influential figure—the painter Lucian Freud—and the satisfactions and struggles of a life lived through art. One of Britain's most important contemporary painters, Celia Paul has written a reflective, intimate memoir of her life as an artist. Self-Portrait tells the artist's story in her own words, drawn from early journal entries as well as memory, of her childhood in India and her days as a art student at London's Slade School of Fine Art; of her intense decades-long relationship with the older esteemed painter Lucian Freud and the birth of their son; of the challenges of motherhood, the unresolvable conflict between caring for a child and remaining commited to art; of the "invisible skeins between people," the profound familial connections Paul communicates through her paintings of her mother and sisters; and finally, of the mystical presence in her own solitary vision of the world around her. Self-Portrait is a powerful, liberating evocation of a life and of a life-long dedication to art.