A KIND OF SYNOPSIS
Read, mark, learn and inwardly digest the commentaries of Rembrandt’s contemporaries.
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Recognise the fact that Rembrandt used live models and mirrors regularly in his studio, creating tableaux-vivants for himself and his students to work from.
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Recognise the variable quality of his works as seen in the etchings and paintings, which are usually dated and signed.
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Recognise that it is therefore dishonest to continue to impose a hypothetical development on his drawings very few of which are signed or dated.
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Recognise that the man himself (revealed in his behaviour) is not reliable (get a psychiatric report).
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Recognise that “he was taught by nature and by no other law. Anything else was worthless in his eyes”. “He would not attempt a single brush-stroke without a living model before his eyes” quotes from Rembrandt’s contemporaries.
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Insist on practical experience of the art of drawing before embarking on Rembrandt studies (minimum 3 years)
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Ask advice of recognised draughtsmen – always.
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Study the syntax as well as the handwriting.
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Abandon the absurd belief that we would understand Rembrandt better if there was less of him to study! He was hugely prolific.
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Study logic.
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Close down all the leading schools of Rembrandt studies and throw out the old guard, they have done immense harm to Art and are a disgrace to Learning, because of their refusal to accept no.1. above. Civilized debate is not tolerated by them.
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Open new schools with artists in charge.
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Publish my book written in 1978 and accepted by Phaidon (with all the editorial board behind it, until one nameless American scholar torpedoed it unjustly in his reader’s report. The book needs the minimum of revision and could be greatly enlarged. The book does of course call in question 90% of scholars’ dating and the iconography of Rembrandt and his school.
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Publish my Commentaries on the Published Drawings of Rembrandt.(in preparation).