| Popis: |
This paper has examined the relationship between Rembrandt and the Mennonites in the seventeenth century and has explored the Mennonite characteristics represented in Rembrandt’s work. In the 1630s and 1640s, Rembrandt was commissioned by Mennonite patrons and surrounded by Mennonite contacts and influences. In particular, the Mennonite art dealer Hendrick Uylenburgh, a cousin of Rembrandt"s wife, Saskia, played an intermediary role between Rembrandt and the Mennonites. Above all, the iconological nuances of Rembrandt’s portraits, and his choice of themes, suggest that Rembrandt had a sound understanding of Mennonite doctrinal and social ideals. Rembrandt’s portraits of Waterlander celebrities and Biblical subjects reflect Mennonite ideals and beliefs. Moreover, his drawings and etchings depicting martyrs could be seen as concerning the Mennonite executions of 1535. In terms of mood and composition, those images are in accordance with illustrations in Mennonite martyrologies published at that time. On the other hand, Rembrandt’s Mennonite portraits and The Sampling Officials of the Drapers’ Guild (1662) have distinct significance in any discussion of the characteristics of the Mennonites. These works show the group’s prosperity and assimilation into Dutch society. The minority position of not having equal, political or religious rights made the Mennonites try to achieve equality at least in the economic domain. Through Rembrandt’s works concerning the Mennonites of the time, we can see the dual aspects of Waterlander Mennonites in the seventeenth century. On the one hand, Waterlanders sought advancement and assimilation into wealthy elite society, and on the other hand, they identified themselves as martyrs by publishing several martyrologies. The Mennonites’ doubleconsciousness of being both martyrs and middle-class people is strongly reflected in Rembrandt’s works. |
