Late Rembrandt at the Rijksmuseum

I missed this winter’s Rembrandt: The Late Works at the National Gallery in London, but what better excuse could there be for a trip to Amsterdam where the same exhibition is continuing at the Rijksmuseum as Late Rembrandt. This is almost certainly the most significant exhibition I will ever post about on this blog, and, as such, readers would probably benefit far more from articles about the NG show by Simon Schama (“jaw-dropping”) or Martin Gayford (“the supreme painter of the inner life”). However, even the best critics seem to have been overwhelmed by The Late Works, so here’s my tuppenceworth.

Titus at his Desk, 1655 (left) Titus in Monk’s Habit, 1660 (right)

This is, it seems, the first exhibition ever to address “late” Rembrandt. The painter’s dates are 1606-1669, the earliest exhibit is dated “about 1648–55” but there are few before 1652, so most are from the painter’s mid-40s until his death at 63. Life had gone well for Rembrandt until early middle age. For a time he had been one of the most successful painters in Holland in the period known as its Golden Age. He had bought a splendid family house in Amsterdam (see below) with borrowed money when he was 33, but three years later his wife, Saskia, died. During perennial financial difficulties he would eventually lose the house. Three of Saskia’s four children would die, only his son, Titus (above), reaching adulthood; Hendrickje Stoffels (probably below), his housekeeper who became his mistress and mother of his daughter, would die in 1663; Titus died the year before his father.

A Woman bathing in a Stream, 1654 

This painting was in the unfashionable less finely finished style which Rembrandt had adopted after 1650. His The Conspiracy of the Batavians under Claudius Civilis (c1661–62, below top) was possibly rejected on these grounds after having been commissioned for the Amsterdam town hall, although at the same time he continued to produce more conventional works like The Sampling Officials of the Amsterdam Drapers’ Guild (1662, known as The Syndics, below lower).

There are far too many magnificent pictures in Late Rembrandt for them all to be reported here. Just a few that I was struck by include the Portrait of Jan Six (c1654, below left) and the Portrait of an Elderly Man (1667, below right) – old chaps are easy for me to identify with of course:

And who could not be moved by poor Lucretia (1664, below left and 1666, below right):

Similarly, The Apostle Batholomew (1657, below left and 1661, below right):

Among the portraits, Portrait of a Lady with an Ostrich-Feather Fan (c1656–58, below), was, like The Syndics, more conventional but no less impressive:

As with the Rubens show currently at the Royal Academy in London, the Late Rembrandt curators have avoided chronology and organised around abstract nouns, eg Intimacy, Contemplation, Emulation and so on. This means that the six significant Rembrandt Self Portraits here are separated after an introductory trio; they are: SP 1659, SP as the Apostle Paul 1661, SP as Zeuxis 1662, SP with Two Circles 1665-9 (also in the poster above), SP at the Age of 63 1669, SP 1669 (clockwise from top left):

One of the last images of Rembrandt is the print of Self Portrait, drawing on an Etching Plate (1658, below left) one of many etchings and drawings featured in Late Rembrandt, too many to describe here. Another is The Conspiracy of the Batavians under Claudius Civilis (c1661, below right) which reveals the full extent of the painting of the same name above before it was cut down in size after rejection.

Anyone seeing the Amsterdam version of Late Rembrandt/Rembrandt: The Late Works, an exhibition which is truly deserving of the term "unmissable", will have the opportunity to view some of his other major works elsewhere in the Rijksmuseum and to visit his house and financial millstone, now a museum, Het Rembrandthuis.

Late Rembrandt continues until 17 May.

Subsequent posts are about the Rembrandt House Museum and some other things seen in the Rijksmuseum and elsewhere in Amsterdam. There is also a post about the Van Gogh Museum.

Martin Amis’s ‘The Zone of Interest’

There are three British writers whose adult lives, like mine, seem likely to straddle the Millennium: in order of personal preference, Ian McEwan (b 1948), Julian Barnes (b 1946) and Martin Amis (b 1949). Amis’s works don’t always appeal to me – I haven’t read Lionel Asbo (2012) and his roman à clef, The Pregnant Widow (2010) seemed flawed by attempting to put late-thirty year-old heads on early-twenty year-old shoulders. But, like other and far better qualified judges*, I found his latest novel, The Zone of Interest, impressive.

It is mostly set in an Auschwitz-like concentration camp, Kat Zet, (KZ, Konzentrationslager) in 1942/43, the period when the Red Army at Stalingrad began to roll back the Nazi advance. Events are seen in alternating succession through the eyes of Angelus Thomsen, a young, well-connected middle manager with the contractor IG Farben, Paul Doll, the camp commandant and Szmul, head of the prisoners who dispose of the bodies. Thomsen, an experienced womaniser, falls in love with Doll’s wife, Hannah. The novel ends with an Aftermath covering the years to 1948. It is clear from the Acknowledgments and Afterward: ‘That Which Happened’ at the end of the book, that Amis has an extensive knowledge of the authoritative Third Reich and Holocaust literature (his first Kat Zet novel, Time’s Arrow, was published in 1991).

The reader of The Zone of Interest is not spared the Holocaust’s “horror, its desolation and its bloody-minded opacity”, nor should they be. However, it is, inevitably, a far from easy read. Some reviewers have called it a satire, others a black comedy and no doubt technically they are right, but it’s far from Catch-22. Amis chose to let Doll, a particularly crooked timber who had been a Nazis since the 1920s, use German words in frequent references to female anatomy but to grotesque effect rather than comic. It seems unlikely to pose a problem in translating the novel to German, because, according to the New York Times, Amis’s usual publishers in France and Germany, Gallimard and Carl Hanser Verlag, have turned down The Zone of Interest. However, Calmann-Lévy, part of the Hachette group, has plans to publish for the autumn of 2015. French readers may find it unsettling that as early in the book as Chapter 2, the first transport to be described arriving at the camp is from Paris.

However revolting the activities of the self-styled Islamic State (IS, or ISIS or ISIL) may seem, Amis’s book is a reminder that they have, so far, been small violations by comparison with the Third Reich’s atrocities. Its publication in the UK is fortuitously timed. The British Museum will be showing Germany: Memories of a Nation from next month until January. In a FT Weekend Magazine interview with the BM’s director, Neil MacGregor, Simon Schama observes:

It is just because the public’s general knowledge of German history, such as it is, is so dominated by one immense and hideous narrative – that of the Third Reich and the Holocaust – that MacGregor wants to open minds to something broader and more complex. Those horrors he calls – provocatively – “extraordinary historical anomalies”. What he wants to present to the listener and the visitor to the exhibition is, rather, a strikingly under-determined national identity – one not, from the beginning, driving inexorably on the Autobahn to annihilation.

The Royal Academy has a retrospective until December of the German painter Anselm Kiefer (b 1945) whose work “wrestles with the darkness of German history”.

Anselm Kiefer, Nothung 1973

Tate Modern from October to February will be showing Alibis: Sigmar Polke 1963–2010:

Polke [b 1941] grew up at a time when many Germans deflected blame for the atrocities of the Nazi period with the alibi, ‘I didn’t see anything’. In various works in the exhibition, Polke opposes many Germans of his generation’s tendency to ignore the Nazi past, as if picking off the scab to reopen the wound.

And in October the reconstructed documentary, German Concentration Camps Factual Survey, will be released as Memory of the Camps. Supervised by Alfred Hitchcock and drawing on film shot in the camps during liberation, it was pulled from distribution after the war for political reasons, a story told in another new film, André Singer’s Night Will Fall.

* Just for example: Alex Clark in the Guardian, Alex Preston in the Observer, Rebecca Abrams in the FT, Wynn Wheldon in the Spectator, JoyceCarol Oates in the New Yorker.

(Post amended on 27 September to include Sigmar Polke at Tate Modern and Nothung)

New Year Predictions 2012

A year ago in a post on this blog, I recorded three predictions (see below) which had surfaced in 2010 and might prove worth revisiting in time.  Here are three more which came up in 2011.

In March in an interview with the Guardian, Adam Posen,

The Bank of England's leading dove has predicted that inflation will tumble to 1.5% by the middle of next year … “If I have made the wrong call, not only will I switch my vote, I would not pursue a second term. They should have somebody who gets it right and not me.”

In May, Henry Kissinger was interviewed by Simon Schama for the FT (£). He offered a scenario for Afghanistan after US withdrawal:

“An India-Pakistan war becomes more probable. Eventually,” says the Doctor, his voice a deep pond of calm. “Therefore some kind of international process in which these issues are discussed might generate enough restraints so that Pakistan does not feel itself encircled by India and doesn’t see a strategic reserve in the Taliban.” He looks directly at me. “Is it possible to do this? I don’t know. But I know if we let matters drift this could become the Balkans of the next world war.”

Finally, and quite immodestly in such company, I made the suggestion in June that the Queen might retire in April 2016 after her 90th birthday.

I will number these 11.1, 11.2 and 11.3 and have applied the same format to last year’s which were:

10.1 “It will be fascinating to see whether the coalition conceived after the 2010 election holds. It may, since the Lib Dem desire for electoral reform is so intrinsic to them. But if that doesn’t come about, I doubt the coalition will last long. However, I may be wrong ...”
Tony Blair, currently looking as though he was “wrong”, but who knows what may happen in 2012?

10.2 “whoever wins this [2010] election will be out of power for a whole generation because of how tough the fiscal austerity will have to be”
Attributed to Mervyn King, who may be proved right in that many aspects of the UK’s fiscal austerity have yet to be realised.

10.3 Prince Charles would never be King and that William would succeed his grandmother
Attributed to Princess Diana – too soon to tell.

Christopher Hitchens

Christopher Hitchens died on 15 December at the age of 62. So much has been written in the last few days by people who knew him, (for example Ian McEwan, [but not yet it seems] Martin Amis, and Simon Schama and, of course, his brother, Peter,) that there is not much left for the rest of us to say. When I was reading his memoir, Hitch-22, I found, rather to my surprise, that we seemed to have a few things in common. One was obvious, also we were both born in the late 1940s and had 1950s boyhoods, and went to not dissimilar sorts of school. But not much after that, as is to be expected in the land of CP Snow’s 'two cultures'*. And the small point that he was exceptionally talented.

Most of us in now our sixties didn’t go on the ‘political journey’ which David Aaronovitch in the Times (£) describes Hitchens as having made – obviously from the ‘Left’, the word appearing 10 times in the article, but where to? Surely not to the ‘Right’, which isn’t mentioned. It seems more like a journey from Trotskyism to Neo-conservatism, but how many neocons are atheists?

Hitchens was a very elegant writer, but I stumbled on one sentence in Hitch-22 when he was describing an interview not long after Oxford for a traineeship at the BBC:

I wasn’t stupid enough not to realise that he wouldn’t have asked that question if he didn’t already know the answer to it.

which I reckon to be a quadruple negative, and not to be attempted by novices!

Hitchens’ death seems to have induced a ‘Diana moment’ among the literary intelligentsia in London and on the East Coast (judging from here). But probably not a global one like Steve Jobs’ passing at the age of 56 in October. In Paris Le Figaro covered Hitchens’ death briefly, describing him as a “polémiste réputé dans le monde anglo-saxon”. The political intelligentsia in London had had their Diana moment in November when New Labour’s polling expert Philip Gould died at the age of 61.

Our expectations of life expectancy are now such that any death under 70 seems to induce a sense of loss. Not least because of the things that these three men in particular might have done if they had worked for another 10 years or more. Gould could well have influenced the outcome of the next general election in the UK. Both Hitchens and Gould died as a consequence of the relatively rare cancer of the oesophagus, associated with tobacco smoking and heavy alcohol use.

* For a recent view of this, see ‘CP Snow’s Two Cultures Revisited’, the 2009 CP Snow Lecture given by Professor Lisa Jardine (Jacob Bronowski’s daughter) downloadable here.

ADDENDUM 22 DECEMBER

A thoughtful piece about Hitchens by David Goodhart has now appeared on the Prospect Magazine website.
(Personal hobbyhorse: the US, not the UK, had babyboomers.) 

ADDENDUM 24 APRIL 2012

On 20 April 2012 a memorial service for Christopher Hitchens was held in New York. Martin Amis delivered the eulogy which Vanity Fair (to which Hitchens was a contributing editor) has made available.

ADDENDUM 31 AUGUST 2012

Martin Amis in an interview with Joseph Weisburg of Slate on 29 August offered “reflections on the life and passing of his dear friend, Christopher Hitchens.”