Rembrandt's Polish Rider (Frick Diptych)

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Zuletzt aktualisiert am 11. Okt. 2025 01:51:26 MESZAlle Änderungen ansehenAlle Änderungen ansehen

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Artikelzustand
Neu: Neues, ungelesenes, ungebrauchtes Buch in makellosem Zustand ohne fehlende oder beschädigte ...
ISBN
9781911282532
Kategorie

Über dieses Produkt

Product Identifiers

Publisher
Giles The Limited, D.
ISBN-10
1911282530
ISBN-13
9781911282532
eBay Product ID (ePID)
7038673146

Product Key Features

Book Title
Rembrandt's Polish Rider
Number of Pages
64 Pages
Language
English
Topic
Individual Artists / Essays
Publication Year
2019
Illustrator
Yes
Genre
Art
Author
Xavier F. Salomon, Maira Kalman
Book Series
Frick Diptych Ser.
Format
Hardcover

Dimensions

Item Height
0.5 in
Item Weight
16.9 Oz
Item Length
9.2 in
Item Width
7.5 in

Additional Product Features

Intended Audience
Trade
Dewey Edition
23
Dewey Decimal
759.2
Synopsis
Marking the 350th anniversary of the death of Rembrandt van Rijn, this fourth volume in the Frick Diptych series offers fresh insight into one of the artist's most romantic and enigmatic portraits--The Polish Rider. This painting has been on view at The Frick Collection since the museum opened to the public in December 1935, and has inspired countless theories about its subject, meaning and history. An illuminating essay by Xavier F. Salomon, the Frick's Peter Jay Sharp Chief Curator, addresses the many questions of provenance, attribution, and historical and artistic context. In a creative, vibrant piece, New York based author and illustrator Maira Kalman, captures the elusive nature of the painting; an imaginary musing about Rembrandt, being Polish, a traveller, and her enduring fascination with the Frick. Designed to foster critical engagement and interest the specialist and non-specialist alike, each book in the Frick Diptych series illuminates a single work in the Frick's rich collection with an essay by a Frick curator paired with a contribution from a contemporary artist or writer. Other volumes in the series include Holbein's Sir Thomas More by Hilary Mantel and Xavier F. Salomon, Vermeer's Mistress and Maid by James Ivory and Margaret Iacono, and Gouthi re's Candelabras by Edmund de Waal and Charlotte Vignon., Marking the 350th anniversary of the death of Rembrandt van Rijn, this fourth volume in the Frick Diptych series offers fresh insight into one of the artist's most romantic and enigmatic portraits--The Polish Rider. This painting has been on view at The Frick Collection since the museum opened to the public in December 1935, and has inspired countless theories about its subject, meaning and history. An illuminating essay by Xavier F. Salomon, the Frick's Peter Jay Sharp Chief Curator, addresses the many questions of provenance, attribution, and historical and artistic context. In a creative, vibrant piece, New York based author and illustrator Maira Kalman, captures the elusive nature of the painting; an imaginary musing about Rembrandt, being Polish, a traveller, and her enduring fascination with the Frick. Designed to foster critical engagement and interest the specialist and non-specialist alike, each book in the Frick Diptych series illuminates a single work in the Frick's rich collection with an essay by a Frick curator paired with a contribution from a contemporary artist or writer. Other volumes in the series include Holbein's Sir Thomas More by Hilary Mantel and Xavier F. Salomon, Vermeer's Mistress and Maid by James Ivory and Margaret Iacono, and Gouthière's Candelabras by Edmund de Waal and Charlotte Vignon., 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.

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