Rembrandt Duits

Deputy-Curator, Photographic Collection

University of Utrecht (MA, PhD)

Rembrandt Duits joined the staff of the Warburg Institute in 1999. He is responsible for the creation and maintenance of the Warburg Institute Iconographic Database, the on-line resource of the Photographic Collection. Together with Dr François Quiviger, he teaches an option on Renaissance Material Culture in the Institute’s two MA courses. He is an editor of the Journal of the Warburg and Courtauld Institutes.

Rembrandt studied Art History and Iconology at the University of Utrecht (MA, PhD). His research concerns the social and economic mechanisms behind Renaissance art and material culture, examining issues of value and values, fashion and taste, social class and social mobility, technique and innovation in the manufacture, sale, use and appreciation of artefacts between 1300 and 1600, with a particular focus on Italy and the southern Netherlands and the relationships between them. He has published on the representation of luxury fabrics in Renaissance paintings and more recently on collections of Byzantine icons in Renaissance Italy. His wider research interests include the archaeology of Byzantine churches and frescoes from the Venetian period on Crete (1211-1669), astronomical and astrological images in medieval and Renaissance manuscripts, the afterlife of the pagan gods in the Middle Ages and Renaissance, and the historiography of art history.

Rembrandt is a member of the advisory board of the journal Troianalexandrina. He won the Karel van Mander Prize for his PhD thesis in 2004.

 

Publications

Books

-         (edited, with A. Lymberopoulou), Byzantine Art and Renaissance Europe, London, 2013

(edited, with François Quiviger), Images of the Pagan Gods. Papers of a Conference in Memory of Jean Seznec, London, 2009 (Warburg Institute Colloquia 14).

Gold Brocade and Renaissance Painting. A Study in Material Culture, London 2008.

 

Articles and essays

‘A New Resource Based on Old Principles. The Warburg Institute Iconographic Database’, in Visual Resources XXX/3 (September 2014) (Special Issue: Classifying Content. Photographic Collections and Theories of Systematic Ordering, eds C. Franceschini and K. Mazzucco), pp. 263-75.

‘Byzantine Icons in the Collections of the Medici’, in A. Lymberopoulou and R. Duits (eds), Byzantine Art and Renaissance Europe, London, 2013, pp. 157-88.

-         ‘ “Abiti gravi, abiti stravaganti”. Veronese’s Creative Approach to Drapery’, in V. Brilliant and F. Ilchman (eds), Paolo Veronese. A Master and His Workshop in Renaissance Venice, Sarasota 2012 (exhibition catalogue), pp. 58-69.

-          ‘Reading the stars of the Renaissance. Fritz Saxl and Astrology’, in Journal of Art Historiography, December 2011 (online).

‘ “Una icona pulcra”. The Byzantine Icons of Cardinal Pietro Barbo’, in Ph. Jackson and G. Rebecchini (eds), Mantova e il Rinascimento italiano. Studi in onore di David S. Chambers, Mantua, 2011, pp. 127-42.

‘The Waning of the Renaissance’, in R. Duits and F. Quiviger (eds) Images of the Pagan Gods. Papers of a Conference in Memory of Jean Seznec, London, 2009, pp. 21-41.

‘The Survival of the Pagan Sky’, in R. Duits and F. Quiviger (eds) Images of the Pagan Gods. Papers of a Conference in Memory of Jean Seznec, London, 2009, pp. 97-128.

‘Art, Class and Wealth’, in K.W. Woods, C.M. Richardson and A. Lymberopoulou (eds), Viewing Renaissance Art, London and Milton Keynes, 2007, pp. 21-58.

‘Celestial Transmissions. An Iconographical Classification of Constellation Cycles in Manuscripts (8th-15th Centuries)’, Scriptorium, 59, 2005, pp. 147-202.

‘Figured Riches’, JWCI 62, 1999, pp. 60-92.

 

Reviews

 

Renata Ago, <cite class="rw">Gusto for Things: A History of Objects in Seventeenth-Century Rome</cite>, in Renaissance Quarterly 67/2 (Summer 2014), pp. 594-5.

 

General academic


Review of the exhibition Building the Picture. Architecture in Italian Renaissance Painting in The Conversation, 1 May 2014 (http://theconversation.com/national-gallery-bid-to-set-stage-doesnt-quite-build-full-picture-26120).

Review of the exhibition Veronese. Magnificence in Renaissance Venice in The Conversation, 21 March 2014 (http://theconversation.com/first-major-exhibition-of-veronese-in-the-uk-dazzles-23332).

‘Illusie en emotie’, in Kunstschrift 2008, 2, pp. 28-33.

‘Kostuums en decors’, in Kunstschrift, 2005, 4, 20-2.

‘Kristallijne kleuren’, in Kunstschrift, 2003, 2, 30-37.

‘Stof tot overpeinzing. Fabric of Vision in de National Gallery’, in Kunstschrift 2002, 4, p. 48.

 (with D. Cuypers), ‘Bladgoud op schilderijen, mythes en misvattingen’ , in Kunstschrift 2001, 6, pp. 26-33.

‘Wat is er mis met Gerrit Dou?’, 2000, 6, p. 53

‘Musea in nieuwe kleren’, 2000, 5, p. 53

‘Schilderijen in koninklijke context – de Royal Collection in Londen’, 2000, 4, p. 53

‘De Percival David Foundation in Londen’, 2000, 3, p. 53

‘Het Leighton House in Kensington’, 2000,  2, p. 53

‘De Dulwich Picture Gallery in Londen’, 2000, 1, p. 52

(with J. Peeters), ‘Hofdames in drie dimensies’, in Kunstschrift 1998, 1, p. 6.

‘Het raadsel van de puntmuts’, in Kunstschrift 1997, 5, pp. 39-41.

‘De mouw als statussymbool’, in Kunstschrift 1997, 5, pp. 20-25.

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