Timothy J. Standring– Rembrandt van Rijn was the Alfred Hitchcock of the Golden Age of Dutch painters. Like the British director—who made cameo appearances in many of his films—Rembrandt placed himself in his compositions: as a mendicant, as a helper who holds the arm of Christ in the Descent from
The year was 1897 and Camille Pisarro, in Paris, wrote to his son, Lucien, in London, that “No one pays any attention nowadays to anything but prints; it’s a rage, the young generation produces nothing else.” Printmaking, which had until the mid-nineteenth century served chiefly as a mechanism for reproducing
Follow @yaleSCIbooks The early days of scientific investigation resulted in extraordinary collaborations between the artistic community and the scientific one. Many examples of these concerted efforts to explore, chart, map, test and record are beautifully documented and eloquently explained in Prints and the Pursuit of Knowledge in Early Modern Europe,
Photographs from this month’s Perseid meteor shower from the International Space Station follow a long tradition of science and art blurring boundaries between each other. As curator Susan Dackerman argues in Prints and the Pursuit of Knowledge in Early Modern Europe, the catalog for Harvard Art Museums’ exhibition opening September 6, art and science often have a close relationship with only vaguely definable boundaries.