The many colleagues of mine who refuse to admit that Rembrandt had an abrasive personality do not care to look this record in the face. The other parties, in alphabetical order, were agents, art dealers, artists, craftsmen, creditors, debtors, merchants, neighbours, nobility, officials, patrons, professionals, regents, relatives, servants and tradesmen. Of the 509 documents in the system at the time of writing, 157 relate to twenty-five different conflicts. Museum Het Rembrandthuis, Amsterdam.Ī database the basic facts in the known documents referring to Rembrandt and his works. In preparation for a Rembrandt website, I inserted into That Rembrandt had a (possibly related) personality problem speaks clearly from the documents. In this it resembles the unhelpful discussion about the taste of Robert Mapplethorpe in relation to the merit of his art. This introduces a false element into the discussion that is difficult - say impossible - to correct. In general they will not admit this, finding fault instead with the quality of the offending works.
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While I have no sympathy with this line of criticism, I cannot help but observe that there are a good number of art lovers who feel that Rembrandt invades their personal space and violates their code of propriety. To this Samuel van Hoogstraten adds censure of the coupling dogs in a Rembrandt painting of the preaching of St John the Baptist, while the defecating mutt in the foreground of the etched Good Samaritan was sufficient evidence for some later connoisseurs to remove the print entirely from Rembrandt's oeuvre. It all had to be followed, or nature would be dissatisfied.
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