Of the great variety of kinds of argumentation used in the law, some are persuasive rather than strictly logical, and others exemplify different procedures in applied logic rather than the formulas of pure logic. From that point onward, a more or less continuous history of such reflection can be traced up to the present day. As is true with the history of philosophy more generally, one can observe over the centuries changes not only in the theories set forth but also in the central questions about law that such theories were meant to answer.
Rembrandt van Rijn is such a universal artist that we tend not to place him in a school or fashion, but the movement that makes most sense of his themes and radical innovations is the Baroque - the theatrical, emotive art and architecture that swept Europe in the 17th century.
Rembrandtborn in Leiden but from onwards dominating the art world of Amsterdam, rejected the patient naturalism of Dutch art for a dramatic juxtaposition of portraiture and history, reality and myth, that is a one-man Dutch Baroque.
His paintings of goddesses such as Flora and Juno are real women dressed up as the classical deities, giving mythology a pathos. Aristotle, ancient Greek philosopher, contemplates a bust of Homerarchaic poet, notional author of the Iliad and Odyssey.
Homer is blind, his eyes brown voids that lead the eye into an inner darkness. The gold light catches his head and illuminates the face of Aristotle, whose black eyes look wanly - knowing too much - at Homer.
This is a painting partly about the uses of portraits. In his Renaissance treatise On PaintingLeon Battista Alberti argued that one of the uses of art is to preserve the images of the dead so that they can be looked at many years later. The Renaissance cult of the portrait was aware of portraiture as a historical document.
The portraits that survived from the ancient world were primarily busts, and that is what Rembrandt depicts here. This is doubly nostalgic: Aristotle, who lived in the fourth century BC, meditates on a portrait bust of Homer, a legendary figure from three centuries earlier.
So Aristotle contemplates a portrait that is a token of a remote past, and we contemplate both that and the painted portrait of Aristotle as Rembrandt imagines him. It seems to be the real man before us, really thinking.
Other artists give us the appearance of their subjects; Rembrandt conveys interior life, a consciousness. The deep chiaroscuro, the face of Aristotle emerging, gold-licked, from darkness, the eyes so weighted with emotion, makes us feel time has collapsed and that we are communing directly with Aristotle as he communes with Homer.
Rembrandt, in his late 40s when he painted this, contemplates the age of the world. The centuries weigh on us, as that gold chain with its presumed portrait of Alexander weighs on Aristotle.
You could interpret this painting as a morality tale - that Aristotle, the successful, well-dressed courtier, envies Homer, the blind but free artist; or that science defers to art. But whatever interpretations are made and unmade, this painting will remain one of the greatest and most mysterious in the world, ensnaring us in its musty, glowing, pitch-black, terrible knowledge of time.
Metropolitan Museum of ArtNew York.Met curator Walter Liedtke on reflection in Rembrandt van Rijn’s Aristotle with a Bust of Homer, Aristotle (– B.C.E.) rests his hand reflectively on a bust of Homer, the blind epic poet of the Iliad and the Odyssey. Interpretation of Aristotle Contemplating the Bust of Homer Considered to be one of the greatest portraits in 17th century Dutch painting, this impressive, if unusual, imaginary painting, was painted by Rembrandt for Don Antonio Ruffo of Messina (), one of Sicily's great art collectors.
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Shortly after the turn of the twentieth century, the Metropolitan Museum of Art began an ambitious program of collection building and physical expansion that transformed it into one of the world's foremost museums. Buy Aristotle And Homer Bust Bookends Greek Philosophy: Aristotle And Homer Bust has been added to your Cart Add to Cart.
Buy Now but adds a touch of style to your room. Featuring highly detailed busts of Homer and Aristotle, each of the bookends is 8 in tall, 4 in wide and 4 in deep.
They look great on bookshelves and on top of /5(5). aristotle with a bust of homer philosopher epic poet painting by rembrandt repro. Among The Met’s most celebrated works of art, this painting conveys Rembrandt’s meditation on the transience of fame.
Richly clad and wearing a gold medallion with the portrait of his patron, Alexander the Great, the philosopher Aristotle (– B.C.) rests his hand pensively on a bust of Homer, the epic poet who had achieved literary .