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Harry Berger, Jr., Fictions of the Pose: Rembrandt Against the Italian Renaissance. Stanford: Stanford University Press, 2000. xxi + 624 pp., 32 color plates + 51 halftone ills. Harry Bergerâs Fictions of the Pose is a delight to read, but a devil to write about. This is especially true in a review, where the writer is responsible not only for those parts of a book that are of immediate relevance to his or her own research, but for the authorâs work as an intricate whole. Having given us a book that is well over six-hundred-pages long and contains some eighty illustrations, Berger has a lot to say; and though style and tone retain a charming lightness and lucidity throughout, the detailed complexity of Bergerâs thought is demanding. Fictions of the Pose is a literally monumental accomplishment whose virtues merit a more thorough airing than I can hope to provide here. Long as it is, the following summary must then be read as shamefully abbreviated. Bergerâs central theme is âthe Rembrandt look, a phrase that denotes âboth â the characteristic appearance of works attributed to (or deattributed from) Rembrandtâthe way they look to usâand also the way they âlookâ
Comparative Literature – Duke University Press
Published: Jan 1, 2003
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