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By Rembrandt Harmenszoon van Rijn; Scallen, Catherine B.; Rembrandt, Rembrandt Harmenszoon van Rijn
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Extra info for Rembrandt, reputation, and the practice of connoisseurship
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Bode’s almost incessant travel from the late 1860s to the late 1910s would be all the more remarkable since he suffered regularly from both migraine headaches and circulatory problems, sometimes leading to his confinement in bed for months at a time. His insistence on persevering with his travels indicates how central personal observation of art works was to his method. the rise of a new art historian 51 * Scallen V5 02-02-2004 17:01 Pagina 52 (Zwart/Process Black Plaat) In August 1872 Bode began his fifty-year career in the Berlin museums, serving first as the assistant for the sculpture collection, where he was charged with the responsibility of forming a collection of plaster casts after important works of the Italian Renaissance.
The committee decided unanimously for the one in Darmstadt. Bode was among the fourteen committee members who signed the document stating their decision. Curiously, although Bode mentioned in his memoir that he had attended the symposium, he did not mention his role as a member of the special committee, even though this must have been a signal honor for the young connoisseur. 28 Between the completion of his doctoral work in late 1870 and his entry into the Berlin museums in 1872, Bode traveled to Hungary, Italy, Great Britain, the Netherlands, Scandinavia, and even Russia, in each place deepening his firsthand knowledge of objects and establishing relationships with collectors, dealers, and other art historians.
Wurzbach concluded that the understanding of Rembrandt’s earliest phase was still rudimentary. He summarized Bode’s main points and his refutation of them, based on his own visual perceptions and augmented, where possi- 58 rembrandt, reputation, and the practice of connoisseurship * Scallen V5 02-02-2004 17:01 Pagina 59 (Zwart/Process Black Plaat) ble, by the judgments of other authorities who supported his position, and stated his belief that Bode had misrepresented the results of Rembrandt research.