The Victorians considered Rembrandt a reclusive genius. More recently, he has been depicted as an empath
IN THE 350 years since his death in 1669, Rembrandt van Rijn has been reinterpreted time and again. The Victorians considered him a reclusive genius. Critics in the mid-20th century thought he was a misunderstood experimentalist. In the 1980s there was a fashion for seeing him as a brilliant businessman. More recently, he has been depicted as an empath, the supreme explorer of human emotion in paint.
Curators seeking to shore up their characterisations of the artist have often done so by hanging him alongside other painters. Put Rembrandt alongside Caravaggio and he looks like a realist, alongside Auerbach and he looks almost expressionistic. In the Rijksmusem’s “Rembrandt-Velázquez” exhibition, pieces by Spanish and Dutch masters have been hung in pairs that reveal new ideas and interpretations.
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