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Работа на тему: Анализ картины рембрандта «Возвращение блудного сына»: от традиции к инновации
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Описание работы

MINISTRY OF SCIENCE AND HIGНER EDUCATION OF RUSSIAN FEDERATION
Federal Autonomous Educational Institution of Higher Professional Education
«UNIVERSITY OF TYUМEN» SCHOOL OF ADVANCED STUDIES

FOR А REМВRANDT'S "ТНЕ RETURN OF ТНЕ PRODIGAL SON": FROM TRADITION ТО INNOVАTION/ TOPIC NAME IN RUSSIAN / АНАЛИЗ КАРТИНЫ РЕМБРАНДТА «ВОЗВРАЩЕНИЕ БЛУДНОГО СЫНА»: ОТ ТРАДИЦИИ К ИННОВАЦИИ

50.03.01 Art and Humanities Маjог «Cultural studies»

Tyumen 2023

МИНИСТЕРСТВО НАУКИ И ВЫСШЕГО ОБРАЗОВАНИЯ
РОССИЙСКОЙ ФЕДЕРАЦИИ
Федеральное государственное автономное образовательное учреждение высшего образования
«ТЮМЕНСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ» ШКОЛА ПЕРСПЕКТИВНЫХ ИССЛЕДОВАНИЙ (SAS)

ВЫПУСКНАЯ КВАЛИФИКАЦИОННАЯ РАБОТА
бакалаврская работа
REМВRANDT'S "ТНЕ RETURN OF ТНЕ PRODIGAL SON": FROM TRADITION ТО INNOVАTION/ TOPIC NAME IN RUSSIAN / АНАЛИЗ КАРТИНЫ РЕМБРАНДТА «ВОЗВРАЩЕНИЕ БЛУДНОГО СЫНА»: ОТ ТРАДИЦИИ К ИННОВАЦИИ

50.03.01 Искусства и гуманитарные науки Профиль «Культурные исследования»

Тюмень 2023

TABLE OF CONTENTS INTRODUCTION 3
CHAPTER 1. METHODOLOGY 4
1.1. DESCRIPTIVE TRADITION 7
1.2. RELIGIOUS DIMENSION 10
1.3. SCIENTIFIC DISCOVERIES 11
CHAPTER 2. PRE-ICONOGRAPHIC DESCRIPTION 14
CHAPTER 3. ICONOGRAPHIC ANALYSIS 18
CHAPTER 4. REPRESENTATIONAL TRADITION AND ICONOLOGICAL INTERPRETATION 22
CHAPTER 5. BURKHARDT’S PERSPECTIVE 27
CONCLUSION 29
BIBLIOGRAPHY 31
APPENDIX 34

INTRODUCTION
In 1667, Jeremias de Dekke, a Dutch poet and one of Rembrandt’s admires, wrote about him:
Your fine brush needs ask no one’s praise; it is renowned through itself. And has perhaps carried its master’s name as far afield as free Netherlander’s sail [de Dekker].
A year after, Rembrandt would create his last artwork: The Return of the Prodigal Son (c. 1668). Being painted in the capital of the Netherlands, the prosperous city of Amsterdam, it would carry the master’s name around the world. But it happened long after the death of the painter spending the last years of his life in poverty and neglect. The Return of the Prodigal Son, his pre-death artwork, is the culmination and outcome of Rembrandt’s spiritual and artistic journey. It reflects “the last phase of Rembrandt’s artistic production” [Proimos, p. 291]. Today, this medium-sized oil painting (262?205 cm) is stored in the Hermitage Museum, Saint Petersburg. The artwork was brought to Russia in the eighteenth century by Lord Gallitzin. He bought it in Paris for the Empress Catherine II of Russia who adored Rembrandt’s oeuvre. Nowadays, despite extensive studies about this artwork, it still is an attractive case for artistic discovery informed and enriched by the previous explorations.
This thesis plans to address the question of whether the artistic means Rembrandt used for that artwork correspond to the seventeenth-century Dutch artistic tradition by referring to Svetlana Alpers’ and Jacob Burckhardt’s works. It gradually explores the painting by Erwin Panofsky’s three-stage analysis and identifies the rate of congruency of The Return of the Prodigal Son with Dutch artistic tradition.

BIBLIOGRAPHY
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2. Ajvazi Irfan. Rembrandt (1606 – 1669): Paintings // Timeline of Art History: Caravaggio Academy of Arts. 2022. 1-31 pp.
3. Alpers Svetlana. The Art of Describing: Dutch Art in the Seventeenth Century. Chicago: University of Chicago Press, 1984.
4. Visual Culture Questionnaire / Alpers Svetlana et al. // October. 1996. 77, 25- 70 pp.
5. Baxandall Michael. The Period Eye. In Painting and Experience in Fifteenth- Century Italy: A Primer in the Social History of Pictorial Style. Oxford: Oxford University Press, 1988. 29-57 pp.
6. Beavis Mary Ann. Parable and Fable // The Catholic Biblical Quarterly. 1990. 52, no. 3, 473-498 pp.
7. Bogolepov Dmitry. Rukovodstvo k tolkovomu ch’teniyu Chetveroevangeliya i Knigi Deyanii Apostol’skikh [A Guide to the Interpretative Reading of the Four Gospels and the Acts of the Apostles]. (1879-1889). 5th edition, Moscow: A.D. Stupin, 1910.
8. de Dekker Jeremias. An Expression of Gratitude to the Excellent and Widely Renowned Rembrandt van Rijn, 1667, translated by Benjamin Binstock. In Art Humanities: Primary Source Reader, Reading 32. Rockville, Maryland and New York: American Heritage Custom Publishing and Columbia University, Department of Art History and Archaeology, 1995.
9. Dickey Stephanie S. Rethinking Rembrandt’s Renaissance // Canadian Journal of Netherlandic Studies. 2007. 21, Special Issue: Around and About Rembrandt (2007): 1-22 pp.
10. Haeger Barbara. The Religious Significance of Rembrandt’s Return of the Prodigal Son: An Examination of the Picture in the Context of the Visual and Iconographic Tradition. PhD diss., Ann Arbor: University of Michigan, 1983.
11. Haeger Barbara. The Prodigal Son in Sixteenth and Seventeenth-Century Netherlandish Art: Depictions of the Parable and the Evolution of a Catholic Image // Simiolus: Netherlands Quarterly for the History of Art. 1986. 16, no. 2/3, 128-138 pp.
12. Kasperowicz, Ryszard. Burckhardt and His Lecture on Rembrandt (1877). In The Visual Culture of Holland in the Seventeenth and Eighteenth Centuries and Its European Reception, edited by Jacek Jazwierski and Paul Taylor. Lublin: Wydawnictwo KUL, 2015. 193-209 pp.
13. Paasky, Jaana. The Evening is Over, the Beauty Remains: A Semiotic Study of Piet Mondrian's Text "Natural Reality and Abstract Reality." Ph.D. diss. Helsenki: University of Helsinki, 2019.
14. Panofsky Erwin. Meaning in the Visual Arts: Papers in and on Art History. New York: Anchor Books, 1955. 26-54 pp.
15. Merriam-Webster.com Dictionary [web-site]: “Parable.” Merriam-Webster, 2023.
16. Proimos, Constantinos. Forgiveness and Forgiving in Rembrandt’s The Return of the Prodigal Son (c. 1668) // Art, Emotion and Value Proceedings of the Fifth Mediterranean Congress of Aesthetics, Cartagena. 2011. July 4-8, 291-300 pp.
17. Spear Richard. [Review] // Picturing Himself. The Washington Post. 1999. Review of Rembrandt’s Eyes / Simon Schama
18. von Falkenhausen Susanne. Beyond the Mirror: Seeing in Art History and Visual Culture Studies. Bielefeld: transcript Verlag, 2020.