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Products for grant FT-55146-07

Rembrandt and Italy
Amy Golahny, Lycoming College

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Rembrandt and Italy: Beyond the disegno-colore Paradigm (Article)
Title: Rembrandt and Italy: Beyond the disegno-colore Paradigm
Author: Amy Golahny
Abstract: Rembrandt’s debt to the Italian Renaissance art has long been recognized and discussed within the paradigm of the regional painterly directions of disegno and colore. Less acknowledged is his familiarity with and appropriation of later Italian art. The affinities between Rembrandt and Caravaggio have often been indicated, especially with respect to chiaroscuro. Rembrandt’s familiarity with Caravaggio’s Madonna of the Rosary has been noted, but Rembrandt’s adaptation of aspects of that grand altarpiece has not been adequately discussed. This essay considers how the Rosary contributed to Rembrandt’s organization of space and figures in his early paintings.
Year: 2009
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Secondary URL Description:, under Amy Golahny
Format: Journal
Periodical Title: Jahrbuch der Berliner Museen, Neue Folge, vol. 51, 2009, 113-20, Special Volume: Rembrandt
Publisher: Staatlich Museen zu Berlin/Gebr. Mann Verlag Berlin

Reflections on Caravaggio, Lastman and Rembrandt (Article)
Title: Reflections on Caravaggio, Lastman and Rembrandt
Author: Amy Golahny, in book edited by M. C. Galassi and A. De Floriani
Abstract: It has long been noted that Dutch and Flemish artists in the early 17th century showed great interest in Caravaggio’s painting. Benedict Nicolson, J. G. van Gelder, Leonard Slatkes, and others have noted how these artists regarded Caravaggio’s paintings for useful motifs, chiaroscuro, and expressive qualities. Most recently, the 2006 Amsterdam exhibition, Rembrandt Caravaggio, indicated both the very keen parallel interests by the two artists, and at the same time, the need for more investigation into how Rembrandt and other Dutch painters, especially Lastman, regarded Caravaggio’s work. Although it has long been noted that Rembrandt’s chiaroscuro may owe much to the illumination of Caravaggio, scholars have been reluctant to pursue Rembrandt’s interest in the caravaggesque in other ways. My remarks here begin to investigate how Lastman and Rembrandt used the works of Caravaggio.
Year: 2008
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Format: Other
Periodical Title: Culture figurative a confron tra Fiandre e Italia
Publisher: Silvana Editoriale, Milan

Pieter Lastman: Moments of Recognition (Article)
Title: Pieter Lastman: Moments of Recognition
Author: Amy Golahny
Abstract: Pieter Lastman (1583-1633) painted scenes of dramatic resolution, based upon characters' expressive reactions to a narrative. This essay focuses on several of these paintings, and analyses them with respect to their narrative texts.
Year: 2010
Format: Journal
Periodical Title: Nederlands Kunsthistorisch Jaarboek, vol. 60
Publisher: Waanders Publisher, Zwolle