Keris and Rembrandt

Laowang · 30th April 2010, 12:13 AM

From Janson, History of Art (Abrams, 1986), regarding the Blinding of Samson:

"Rembrandt had developed a full-blown High Baroque style. He here visualizes the Old Testament as a world of oriental splendor and violence, cruel yet seductive... Rembrandt was at this time an avid collector of Near Eastern (sic) paraphernalia, which serve as props in these pictures."

I would hesitate from imputing too much symbolism to the choice of the keris, outside of its contribution to 'oriental' splendor. The interpretation in the KrisDisk is uncharacteristic of Rembrandt and his social milieu.

At this time, Holland was newly independent and prosperous, and art was a commodity hotly collected by wealthy merchants. Paintings were commodities produced for the market; the overall atmosphere of a piece like this would have contributed to its value as such. Still lifes from the period often have animals, flowers, or fruit from outside of Europe. Unlike paintings of Old Testament subjects from earlier periods in European art history, paintings in this period were being produced for wealthy secular clients, not the church.

Also, if the kris were viewed as a satanic emblem, it is unlikely Rembrandt would have held one in his self-portrait as an Oriental potentate.

30th April 2010, 12:13 AM	#32
Laowang Member Join Date: Mar 2010 Location: 40˚00' N, 83˚00' W Posts: 52	From Janson, History of Art (Abrams, 1986), regarding the Blinding of Samson: "Rembrandt had developed a full-blown High Baroque style. He here visualizes the Old Testament as a world of oriental splendor and violence, cruel yet seductive... Rembrandt was at this time an avid collector of Near Eastern (sic) paraphernalia, which serve as props in these pictures." I would hesitate from imputing too much symbolism to the choice of the keris, outside of its contribution to 'oriental' splendor. The interpretation in the KrisDisk is uncharacteristic of Rembrandt and his social milieu. At this time, Holland was newly independent and prosperous, and art was a commodity hotly collected by wealthy merchants. Paintings were commodities produced for the market; the overall atmosphere of a piece like this would have contributed to its value as such. Still lifes from the period often have animals, flowers, or fruit from outside of Europe. Unlike paintings of Old Testament subjects from earlier periods in European art history, paintings in this period were being produced for wealthy secular clients, not the church. Also, if the kris were viewed as a satanic emblem, it is unlikely Rembrandt would have held one in his self-portrait as an Oriental potentate.