<p style="text-align: right;" align="right">Jordan Pinion</p>
<p style="text-align: right;" align="right">9/23/13</p>
<p style="text-align: right;" align="right">HUMA 1302-007</p>
<p style="text-align: right;" align="right">TCP2</p>
<p style="text-align: center;" align="center">                <img alt="Breaking the 4th wall since 1632" src="http://upload.wikimedia.org/wikipedia/commons/thumb/8/8c/The_Anatomy_Lesson.jpg/300px-The_Anatomy_Lesson.jpg" width="300" height="225" /></p>
<p style="text-align: center;" align="center">      The Anatomy Lesson</p>
<p style="text-align: center;" align="center"><a href="http://upload.wikimedia.org/wikipedia/commons/thumb/8/8c/The_Anatomy_Lesson.jpg/300px-The_Anatomy_Lesson.jpg"><i>http://upload.wikimedia.org/wikipedia/commons/thumb/8/8c/The_Anatomy_Lesson.jpg/300px-The_Anatomy_Lesson.jpg</i></a><i></i></p>
<p style="text-align: center;" align="center"><i> </i></p>
<p style="text-align: left;">Name: <i>The Anatomy Lesson of Dr. Nicolaes Tulp</i></p>
<p style="text-align: left;">By: <i> </i>Rembrandt Harmenszoon van Rijn</p>
<p style="text-align: left;">Date: 1632</p>
<p style="text-align: left;">       A step in a different direction from Rembrandt's typical biblical depictions, this piece depicts an anatomy lesson taught by one Nicolaes Tulp. At the time, live cadavers were only permitted to be used for dissection once a year, “The winder months were a useful time, since the bodies would keep better during the demonstrations that usually went on for several days.” (A.C.) What is most intriguing is Rembrandt's depiction of death, and the implications of the advancement of the sciences. The drama evoked by this piece is very much in line with the Baroque style of the time. This piece should be preserved not only for its textbook examples of Baroque styling, but for its insight into the emergence and widespread reception of the scientific revolution, which affects most everyone to this very day.</p>
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<p style="text-align: left;">       The Netherlands of the time had just finished declaring their independence from a French monarchy, and the dutch way of life had already begun to represent itself as a large proponent of scientific discovery. “After thirty years of war to shake off the Spanish yoke, the seven northern provinces, including Holland, had gained their independence and established their right to     trade freely. Politically, the United Provinces were a fairly loose federation; religiously, they had embraced Calvinism; economically, they were going from strength to strength, largely as a result of their trading links with the East Indies and the West Indies. By the middle of the 17<sup>th</sup> century, half of Europe's trade was carried by Dutch ships.” (A.C.)</p>
<p style="text-align: left;">       Holland (and most of Northern Europe at the time) was greatly influenced by the scientific revolution, but not simply by means of technological advancement. The scientific revolution had a profound influence on the artistic minds of the time as well, “In the cities of seventeenth-century Holland, where Dutch lens-makers had produced the first telescopes and microscopes, artists paid obsessive attention to the appearance of the natural world. In still lifes, portraits,    landscape, and scenes of everyday life-- all secular subjects-- Dutch masters practiced the 'art of describing'”.  (Fiero)</p>
<p style="text-align: left;"><i>       The Anatomy Lesson</i> was actually a departure of the norm for Rembrandt, as he was mostly famous at the time for his work on portraits, though it definitely was one of his more lucrative commissions. His work was actually very typical of its era, and many believe that he was actually very heavily influenced by Peter Paul Rubens.</p>
<p style="text-align: left;">       Both the Baroque style and the influences of the scientific revolution are very apparent in <i>The Anatomy Lesson</i>. “Some of these paintings,... reflect the Baroque fondness for colossal proportion and theatrical setting. Even in his smaller-sized group portraits, Rembrandt achieved a unity of dramatic effect typical of the Baroque style.” (Fiero) The stark contrast between lights and darks is a hallmark of the Baroque style, and at the same time, the “faces bear the force of individual personalities and the spirit of inquisitiveness peculiar to the Age of Science.” (Fiero)</p>
<p style="text-align: left;">       “In 17<sup>th</sup> century Holland, group portraits were an immensely popular genre – they were a social institution, the symbol of an up-and-coming middle class.” (A.C.) Autopsies were a rarity during the time period, and to have the privilege of immortalizing this scene is amazing.  <i>The Anatomy Lesson</i> stands out from its peers because of its almost expert use of Baroque styling, and its emphasis on the sciences as not only a worthwhile pursuit of knowledge, but also a potential object of beauty.</p>
<p style="text-align: left;"><i>       The Anatomy Lesson</i> was very well received for its time, as it appealed to much of both the medical, scientific and the artistic world. In addition to this, it was a departure from the portraiture form that Rembrandt was familiar with, showing that he was versatile as well as skillful. <i>The Anatomy </i>Lesson was one of Rembrandt's more profitable pieces. Rembrandt was actually paid commission by several of the patrons present in the piece, (most of which were not even medically inclined) so that they could be included in the work.</p>
<p style="text-align: left;">       Today <i>The Anatomy Lesson</i> has proven itself a work of art worth admiration. Of all the paintings by Rembrandt, it is certainly one of the most recognizable. “Far from not understanding the point of Professor Tulp’s anatomy lesson, Rembrandt has grasped its very essence. His painting, produced at a time of great historical, artistic, sociological, and epistemological developments, epitomizes the spirit of 17th-century Holland. Indeed, the artist’s concern with movement makes this painting the epitome of 17th-century European thinking: movement was central to the ideas of Descartes, Gassendi, Galileo, Leibniz, Newton - and Rembrandt.” (A.C.)</p>
<p style="text-align: left;">       It has been stated though that this may not have been a “true” anatomy lesson, at least as far as it is known for them to operate at the time.  “The body has not been 'cut-up' (which is the actual meaning of 'anatomy' – from Greek <i>ana</i> – meaning up and <i>temnein- </i>to cut)”. (A.C.)</p>
<p style="text-align: left;">       Personally, I admire the focus this piece emphasizes on the pursuit of science and knowledge. I especially liked how the doctors are depicted in the religiously appropriate dark clothing to indicate that this is a relatively somber occasion, yet still one of learning and exploration. The message of this piece I believe is that scientific and medical discoveries are on the up-turn. At roughly the same time <i>The Anatomy Lesson</i> was being painted, Galileo was being put on trial for his scientific beliefs/discoveries.</p>
<p style="text-align: left;">       Also a Dutch work <i>The Drawing Lesson</i> by Jan Steen is a good comparison of similar work of the time. It depicts a very crowded dutch art studio, in which two students are being taught by a drawing master. It is interesting to note that the students in this case, are two women.</p>
<p style="text-align: left;">       Both pieces are excellent examples of the Baroque style, effectively using the contrast of light and shadow to lead the eye to the main scene. Light is not the only way that these pieces guide the eye though, as both paintings very effectively use composition and the very specific placement of objects/people in order to bring the piece together as a whole.</p>
<p style="text-align: left;">       The differences between these two pieces seem to far outweigh the similarities. <i>The Drawing Lesson</i> by Jan Steen is exceptionally cluttered, which adds to its realism, but is in stark contrast to <i>The Anatomy Lesson</i> which is almost spartan in its accessories. “Often humorous and anecdotal, Steen's painting are usually brilliant in composition. Here, he uses the canvas leaning on the trunk and the lute on the floor to lead our eyes into the scene.” (Fiero) <i>The Anatomy Lesson</i> on the other hand uses almost purely the contrast of the dark background (which is almost unintelligible) with the light fullness of the faces present in order to draw the eye. “As in his religious compositions, he manipulates light for dramatic purposes: he spotlights the dissected corpse in the foreground and balances the darker area formed by the figure of the doctor with a triangle created by the brightly lit faces of the students (whose names appear on the piece of paper held by the central figure).” (Fiero)</p>
<p style="text-align: left;">       What is most important about this work that future generations must be aware of it that this piece is a perfect representation of the Baroque style (and it often used to depict the style). In addition to this, the implications of scientific thought, exploration and discovery as not only a mainstay in the pursuit of knowledge, but also in the pursuit of artistic accuracy are enormous. More than anything, <i>The Anatomy Lesson</i> screams that Science can be beautiful, and it is this lesson that I believe should be carried on to future generations.</p>
<p style="text-align: left;">“Rembrandt van Rijn” <i>Encyclopedia Britannica Online. </i>Encyclopedia</p>
<p style="text-align: left;">            Encyclopedia Britannica Inc. 2013</p>
<p style="text-align: left;">            Web. 23 September 2013</p>
<p style="text-align: left;">            This is the encyclopedia entry specifically for Rembrandt himself, as opposed to <i>The Anatomy Lesson</i>. It was invaluable for its insight into the time period and into the artist.</p>
<p style="text-align: left;">A.C. Masquelet “Rembrandt's Anatomy Lesson of Professor Nicolaes Tulp (1632)”</p>
<p style="text-align: left;"><i>            </i>Corpus Maitri. Orthopaedic<i></i></p>
<p style="text-align: left;">            Web. 23 Sep 2013</p>
<p style="text-align: left;">            This source is a third party in-depth analysis of not only the work, but the works validity as an accurate representation of a medical autopsy. I used this source not so much for the argument that it presents, but more for the information garnered about the specific art style.</p>
<p style="text-align: left;">“Rembrandt van Rijn” <i>Oxford Art Online</i></p>
<p style="text-align: left;">            ACC Library Online Services, 2013.</p>
<p style="text-align: left;">            Web. 26 Aug. 2013</p>
<p style="text-align: left;">            A wealth of information on the life and times of the artist. It includes the full bodies of work created by Rembrandt, not just limited in scope of <i>The Anatomy Lesson</i>. This resource was very good for fleshing out major influencers, as well as public reception of the time.</p>
<p style="text-align: left;">Fiero, Gloria K. “<em>Humanistic Traditions Vol. 2”</em></p>
<p style="text-align: left;">McGraw Hill, 2011. E-Book</p>
<p style="text-align: left;">Web. 1 Oct 2013</p>
<p style="text-align: left;">            The e-book specifically for this course, filled with abundant amounts of information concerning not only the piece, but its creator, colleagues and comparative pieces. It proved invaluable for providing reception information, as well as comparisons.</p>