:Fictions of the Pose: Rembrandt against the Italian Renaissance

Abstract

Introduction Part I. Early Modern Technologies and Politics of Representation and Their Consequences: 1. Technologies: the system of early modern painting 2. Politics: the apparatus of commissioned portraiture 3. Consequences: Sprezzatura and the Anxiety of self-representation Part II. Facing the Gaze: 4. The face as index of the mind: art historians and the physiognomic fallacy 5. Physiognomy, mimetic idealism, and social change 6. Elias on physiognomic skepticism: Homo Clausus and the anxiety of representation 7. Lacan on the narcissism of orthopsychic desire 8. Fictions of the pose (1): the fiction of objectivity 9. Fictions of the pose (2): representing orthopsychic desire Part III. The Embarrassment of Poses: On Dutch Portraiture: 10. Local matters 11. The posography of embarrassment: representational strategies in a decentralized class society 13. Rembrandt's embarrassment: an anatomy of group portraiture Part IV. Rembrandt's Looking-Glass Theater: 14. Methodological interlude II: on self-portraits 15. Good boys and bad: orthopsychic comedy in the early self-portraits 16. Marking time: revisionary allusion in specular fictions 17. Rembrandt as Burgher: waiting for Maerten Soolmans 18. Methodological interlude III: texture versus facture 19. Specular fictions in two etchings 20. Married with Peacock: Saskia in Rembrandt's looking-glass theater 21. Methodological interlude IV: on revisionary allusion - Rembrandt against the Italian Renaissance 22. Rembrandt as courtier 23. Rembrandt in chains: the Medici self-portrait 24. Rembrandt in Venice: the patriarch 25. (Ef)facing the hand 26. The last laugh: or, something more.