Related Papers
Shalom Sabar, “Between Calvinists and Jews: Hebrew Script in Rembrandt’s Art,” in Mitchell B. Merback, ed., Beyond the Yellow Badge: Anti-Judaism and Antisemitism in Medieval and Early European Modern Visual Culture (Leiden: Brill, 2008), 371-404, 559-573
Shalom Sabar
Journal of Modern Jewish Studies
Judging A Book By Its Cover: Bernard Picart's Jews and Art History
2015 •
Samantha Baskind
In this article, I aim to nuance previous assessments of Bernard Picart as an unbiased portrayer of Jews by paying special attention to his often overlooked, crucial frontispiece, which complicates his larger agenda.
Companion to Renaissance and Baroque Art
Judaism and Arts in Early Modern Europe: Jewish and Christian Encounters
2013 •
Shelley Perlove
Studia Rosenthaliana Vol. 33, No. 2
An Ingenious Device: Rembrandt's Use of Hebrew Inscriptions
1999 •
Mirjam Knotter
The illuminated Hebrew characters in Belshazzar's Feast by Rembrandt Harmensz. van Rijn (1606-1669) have fascinated art historians, Hebraists and other viewers of this overwhelming history piece for years. And for good reason. Both the prominent position of the inscription and the encrypted representation of the divine symbols on the wall make Belshazzar a remarkable example of the use of Hebrew inscriptions in seventeenth-century Northern Netherlandish painting. Belshazzars Feast (c. 1635) is not the only work in which Rembrandt employed Hebrew inscriptions. A number of his works contain Hebrew characters. Despite the many publications focusing on the fact that Rembrandt lived in Amsterdam's Jewish quarter and his possible links with members of Amsterdam's Jewish community, this cannot have been the exclusive reason for Rembrandt's use of Hebrew characters. In employing these in his biblical scenes, Rembrandt was certainly no exception. In fact, Northern Netherlandish painters of the seventeenth century used Hebrew characters on a relatively wide scale in biblical history paintings.
"Rembrandt's Etchings for Menasseh ben Israel's Piedra Gloriosa: A Mystery Solved?," Kroniek van het Rembrandthuis, 2021, pp. 1-17 (Steven Nadler and Victor Tiribás).
Victor Tiribás
Scholars have long puzzled over the etchings by Rembrandt that appear in some extant copies of Piedra Gloriosa, a messianic treatise by Menasseh ben Israel published in Amsterdam in 1655. Do the illustrations represent a true collaboration between the artist and the rabbi? Why do the illustrations appear in only some of the extant volumes? Perhaps the most perplexing question of all is why do a few of the extant copies contain illustrations that representationally (if not aesthetically) fairly duplicate those by Rembrandt but by a different artist and with at least one very significant modification? In this article, though we briefly address the first question and review the current state of scholarly opinion, we are concerned primarily with second and third questions. How can we account for the fact that most extant volumes contain no illustrations at all; and what might explain the substitution of a new set of illustrations for those by Rembrandt? We show that a recently uncovered document in the record book of the Amsterdam Portuguese-Jewish community sheds some new light on these matters and may point toward a plausible explanation for the switch. https://www.rembrandthuis.nl/nl/kroniek/rembrandts-etchings-for-menasseh-ben-israels-piedra-gloriosa-a-mystery-solved/
Shalom Sabar, “Rembrandt from Right to Left,” Segula, no. 49 (October 2019): 40-53
Shalom Sabar
Journal for the Study of Sephardic and Mizrahi Jewry
Distinguishing the Distinction: Picturing Ashkenazi and Sephardic Jews in Seventeenth- and Eighteenth-Century Holland
2007 •
Samantha Baskind
Yosef Kaplan, “For Whom did Emmanuel de Witte Paint his Three Pictures of the Sephardic Synagogue in Amsterdam,” Studia Rosenthaliana, vol. 32, no. 2 (1998): 133-154
Yosef Kaplan
Intersections between Jews and Media
Maya Balakirsky Katz
In this volume, the relationship between Jews and media is vividly illustrated and consciously drawn into the formation of modern Jewish history and modern media. Maya Balakirsky Katz addresses key Jewish-media intersections in which Jews and mass media implicated (or were implicated by) one another. In this study, Katz discusses the relationship that Jews have had with mass media forms of print, film, photography, advertising, and postcards within the periods that these media have gained cultural ascendancy. These historical moments are tethered to a broader conversation addressing the major theoretical issues at the center of the discourse on Jews and media. Bearing this mutually constructive relationship in mind, Intersections between Jews and Media offers a tangible demographic portrait of the real Jews who entered mass media and lays a theoretical and methodological framework for more qualitative analyses.
Art History
Encountering Difference: Rembrandt’s Presentation in the Dark Manner
2000 •
Michael Zell
