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Rembrandt's Nose: Of Flesh and Spirit in the Master's Portraits
 
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Rembrandt's Nose: Of Flesh and Spirit in the Master's Portraits [Hardcover]

Michael Taylor (Author), Rembrandt (Author)
5.0 out of 5 stars  See all reviews (2 customer reviews)

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Book Description

July 1, 2007
The year 2006 marked the 400th anniversary of the birth of one of the greatest portrait painters that ever lived, the Dutch seventeenth-century master, Rembrandt. Although Rembrandt is among the most important artists in western history, and perhaps our greatest draftsman, no one has ever, until now, been able to pinpoint exactly how it was that he so precisely and effortlessly captured the spiritual essence of his subjects. This insightful, sophisticated and yet accessible illustrated reading-format study, written by the preeminent scholar and translator Michael Taylor, will be as enlightening and delightful to Rembrandt scholars as to lay readers. Taylor looks at Rembrandt's self-portraits, his society portraits, historical paintings and biblical scenes, and identifies how it was that the artist rendered his subjects so alive, so full of earthy, flesh-and-blood vitality--which all boils down to his treatment of the nose. Rembrandt's Nose is a gem of a book, an intimate, candid and extremely entertaining engagement with the works of art themselves, interwoven with racy historical snippets that contextualize the artist's breakthroughs and techniques. It includes some 49 reproductions, as well as a complete chronology of Rembrandt's life.
"Michael Taylor creates a series of portraits that are as full of ingenuity, passion, and attention to quirky detail as Rembrandt's paintings themselves. Art history has seldom been so entertaining and enlightening." --Ross King, author of Brunelleschi's Dome, The Judgment of Paris, and Michelangelo & the Pope's Ceiling.
"Michael Taylor's starting point for this enchanting essay is a feature that is as plain as could be, and is central to the destiny and the mortal features and aspirations of his great subject, the painter. Taylor's meditation unfolds with grace of language and insight, and a familiar use of what can be known now of Rembrandt and the world he revealed." --W.S. Merwin, former Chancellor of The Academy of American Poets and recipient of the National Book Award and the Pulitzer Prize.
"Zooming in on the center of Rembrandt's faces, Michael Taylor finds meanings we all have missed. What appeals to me most in his lyrical appreciation is that he writes not only about what Rembrandt's noses look like, but also how they smell and breathe." --Gary Schwartz, author of The Rembrandt Book.
"This is the best kind of criticism: informed without being pedantic, passionate but elegant, witty and earnest at the same time It is worth a whole stack of weighty tomes on the master." --Mark Polizzotti, Publisher, The Museum of Fine Arts, Boston, and author of Revolution of the Mind: The Life of André Breton. (20071207)

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Editorial Reviews

From Publishers Weekly

Last year marked the 400th anniversary of Rembrandt's birth, and in this slim, intensely focused volume, Paris-based scholar Taylor (translator of Pierre Schneider's seminal work, Matisse) presents an unusual and carefully researched study that stands alone while acknowledging the author's debt to Simon Schama's Rembrandt's Eyes. If the sitter is the lead actor of a performance... then the nose is his understudy on the stage of the face, Taylor writes with characteristic verve, underscoring a major theme: the drama of physiognomy and how Rembrandt engaged it in innovative ways and with emotive depth. For Rembrandt, Taylor argues, the nose is a sensual, sexual, vital and often definitive element in his portraits and self-portraits. Taylor's study presents a broader chronological exploration of the painter's portrayal of the human form and the self-portraits he obsessively created throughout his life. Several of Taylor's themes are familiar, such as Rembrandt's interest in the body's physical decline. Yet his perspective is often fresh and probing; the discussion of moral blindness and seeing-in-blindness in Rembrandt's Tobit series is particularly illuminating. Taylor's prose is elegant and his interpretations show engagement with Rembrandt scholarship, making this book appealing. to those with a general interest in Rembrandt as well as to scholars of the painter and period. 49 illus. (July 1)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist

Taylor's brief but densely composed study of Rembrandt's portraits focuses on details viewers may have missed, particularly the artist's depictions of noses. In what he acknowledges as a debt to Simon Schama's masterly Rembrandt's Eyes (1999), Taylor posits the nose as the unacknowledged focus of several Rembrandt masterpieces. The nose functions variously as a sculptural mass, a receptor of light, and often a key component of the artist's famously dramatic chiaroscuro. When light sweeps laterally across the sitter's face, as it often does, the nose is the fence that separates bright illumination and shadow. Sometimes you feel Taylor chafing at the minimalist parameters within which he works, fighting, then, sometimes, giving in to the temptation to delve into other aspects of Rembrandt's work. Nance, Kevin
Copyright © American Library Association. All rights reserved

Product Details

  • Hardcover: 168 pages
  • Publisher: D.A.P./Distributed Art Publishers, Inc. (July 1, 2007)
  • Language: English
  • ISBN-10: 1933045442
  • ISBN-13: 978-1933045443
  • Product Dimensions: 7.7 x 6.3 x 0.8 inches
  • Shipping Weight: 8 ounces (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #597,155 in Books (See Top 100 in Books)

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9 of 11 people found the following review helpful:
5.0 out of 5 stars NOT JUST on NOSES, December 21, 2007
This review is from: Rembrandt's Nose: Of Flesh and Spirit in the Master's Portraits (Hardcover)
I finished this book in two days. A short book, very focused, not just on noses, but on the spirit that stirred in the painter and those he painted. He was a genius whose work will doubtless remain on a pinnacle of human achievement as long as we appreciate painting as an art. A genius not only because of his prodigious talent, but because of his willingness to depict the fallibility, vast range, and transience of human existence.

His was not an easy life. The deaths of his first wife and two of his daughters; the rejections of others combined with his poor judgment that led to his insolvency. The rough competition from former students, the way he was betrayed and was seen as the betrayer by his first mistress and some of his most important clients.

He was able to depict whatever rose up within and without him. Lust, fear, madness, sadness, tenderness, pride, vanity, serenity, murderousness, resignation, smugness.... all those ways of showing our humanness and many more.

He was Whitmanesque in his putting on the mantle of humanity. But Whitman bragged about it: "I am this and I am that". While Rembrandt felt and saw all the nuances of what it is to be a human being, laid it out in paint and etchings, and left it for us to see for ourselves.

My thanks to Michael Taylor for his having shared his scholarship and intense interest and appreciation for Rembrandt with us.


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12 of 16 people found the following review helpful:
5.0 out of 5 stars spiritus lenis, August 20, 2007
This review is from: Rembrandt's Nose: Of Flesh and Spirit in the Master's Portraits (Hardcover)
I am looking at a digital reproduction of the Rembrandt I know best. I've been close to it at The Frick. It is one from his later, impoverished years. His expression unyielding despite soft, unsettled strokes. Many of the painter's portraits and self-portraits present the sitter's eyes as equally alive as the nose. When visible, the eyes live up to the widely understood role as points of entry into a soul. In the Rembrandts where the eyes are obscured as in the late great at The Frick, what insists, I've realized after reading Michael Taylor's book, is the nose! Taylor contends and has made a believer of this non-specialist, that the nose contains the irrepressible soul's assertion of itself. Not since Gogol's short story has the nose been so animated (the distinguishing quality of the one belonging to Cyrano was its size and nothing more, and the same goes for C.D. in Roxanne). What Taylor does for me is bring back together soul and breath, once one in the root "spiritus" before linguistic distinction. As for the writing, I found Taylor's prose engaging, accessible and like a Rembrandt, devoid of an esoteric language and satisfyingly human in Taylor's undeniable love for the work. This is no systematic, formal exposition of Rembrandt van Rijn. It reads as a collection of short, interconnected poetic meditations. The contents page is a poem in itself. Add to cart. Know for yourself the delight, and slight embarrassment it's given me.
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