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Rembrandt's 'Bathsheba Reading King David's Letter' (Masterpieces of Western Painting)

by Ann Jensen Adams (Editor)

Other authors: Svetlana Alpers (Contributor), Mieke Bal (Contributor), Margaret D. Carroll (Contributor), Gary Schwartz (Contributor), Eric Jan Sluijter (Contributor)2 more, Leo Steinberg (Contributor), Ernst van de Wetering (Contributor)

Series: Masterpieces of Western Painting

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Rembrandt's masterful Bathsheba Reading King David's Letter is unusual both as a history painting and as a portrayal of a nude. Instead of displaying a sumptuous body for the viewer's delectation, Bathsheba elicits our empathy. This collection of essays by seven leading Rembrandt scholars examines its qualities from perspectives ranging from changing perceptions of female beauty and the nude, technical analysis, and biographical and psychological analysis of the artist, the subject, and the viewer. The juxtaposition of these different approaches to a single work highlights how both the artist and his art are constructed through the questions we ask, and facilitates a comparison of some of the different approaches practiced by art historians today.… (more)
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Author nameRoleType of authorWork?Status
Adams, Ann JensenEditorprimary authorall editionsconfirmed
Alpers, SvetlanaContributorsecondary authorall editionsconfirmed
Bal, MiekeContributorsecondary authorall editionsconfirmed
Carroll, Margaret D.Contributorsecondary authorall editionsconfirmed
Schwartz, GaryContributorsecondary authorall editionsconfirmed
Sluijter, Eric JanContributorsecondary authorall editionsconfirmed
Steinberg, LeoContributorsecondary authorall editionsconfirmed
Wetering, Ernst van deContributorsecondary authorall editionsconfirmed
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Rembrandt's masterful Bathsheba Reading King David's Letter is unusual both as a history painting and as a portrayal of a nude. Instead of displaying a sumptuous body for the viewer's delectation, Bathsheba elicits our empathy. This collection of essays by seven leading Rembrandt scholars examines its qualities from perspectives ranging from changing perceptions of female beauty and the nude, technical analysis, and biographical and psychological analysis of the artist, the subject, and the viewer. The juxtaposition of these different approaches to a single work highlights how both the artist and his art are constructed through the questions we ask, and facilitates a comparison of some of the different approaches practiced by art historians today.

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