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Manhood, Marriage, and Mischief - Rembrandt's 'Night Watch' and Other Dutch Group Portraits (Hardcover)
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Manhood, Marriage, and Mischief - Rembrandt's 'Night Watch' and Other Dutch Group Portraits (Hardcover)
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A study of the theory and practice of seventeenth-century Dutch
group portraits, Manhood, Marriage, and Mischief offers an account
of the genre's comic and ironic features, which it treats as
comments on the social context of portrait sitters who are husbands
and householders as well as members of civic and proto-military
organizations. The introduction picks out anomalous touches with
which Rembrandt problematizes standard group-portrait motifs in The
Night Watch: a shooter who fires his musket into the company; two
girls who appear to be moving through the company in the wrong
direction; guardsmen who appear to be paying little or no attention
to their leader's enthusiastic gesture of command. Were the patrons
and sitters aware of or even complicit in staging the anomalies? If
not, did the painter get away with a subversive parody of militia
portrait conventions at the sitters' expense? Parts One and Two
respond to these questions at several levels: first, by analyzing
the aesthetic structure of group portraiture as a genre; second, by
reviewing the conflicting accounts modern scholars give of the
civic guard company as an institution; third, by marking the effect
on civic guardsmen of a mercantile economy that relied heavily on
wives and mothers to keep the homefires burning. Two phenomena
persistently recur in the portraits under discussion: competitive
posing and performance anxiety. Part Three studies these phenomena
in portraits of married couples and families. Finally, Part Four
examines them in The Night Watch in the light of the first three
parts. The result is an interpretation that reads Rembrandt's
painting both as a deliberate parody by the sitters and as the
artist's covert parody of the sitters.
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