November 2013
Rembrandt van Rijn (Dutch, 1641-1668)
Portrait of a Boy in Fancy Dress (Titus)
c. 1655
Oil on canvas
The Book of Memory. Book Four.
Several blank pages. To be followed by profuse illustrations. Old family photographs, for each person his own family, going back as many generations as possible. To look at these with utmost care.
Afterwards, several sequences of reproductions, beginning with the portraits Rembrandt painted of his son, Titus. To include all of them: from the view of the little boy in 1650 (golden hair, red feathered cap) to the 1655 portrait of Titus ‘puzzling over his lessons’ (pensive, at his desk, compass dangling from his left hand, right thumb pressed against his chin) to Titus in 1658 (seventeen years old, the extraordinary red hat, and, as one commentator has written, ‘The artist has painted his son with the same sense of penetration usually reserved for his own features’) to the last surviving canvas of Titus, from the early 1660s: ‘the face seems that of a weak old man ravaged with disease. Of course, we look at it with hindsight – we know that Titus will predecease his father…’
To be followed by the 1602 portrait of Sir Walter Raleigh and his eight-year-old-son Wat (artist unknown) that hangs in the National Portrait Gallery in London. To note: the uncanny similarity of their poses. Both father and son facing forward, left hands on hips, right feet pointing forward, and the somber determination on the boy’s face to imitate the self-confident, imperious stare of the father. To remember: that when Raleigh was released after a thirteen-year incarceration in the Tower of London (1618) and launched out on a doomed voyage to Guiana to clear his name, Wat was with him. To remember that Wat, leading a reckless military charge against the Spanish, lost his life in the jungle. Raleigh to his wife: ‘I have never known what sorrow meant until now.’ And so went he went back to England, and allowed the King to chop of his head.
To be followed by more photographs, perhaps several dozen: Mallarmé’s son, Anatole; Anne Frank (‘This is a photo that shows me as I should always like to look. Then I would surely have a chance to go to Hollywood. but now, unfortunately, I usually look different’); Mur; the children of Cambodia; the children of Atlanta. The dead children. The children who will vanish, the children who are dead. Himmler: ‘I have made the decision to annihilate every Jewish child from the face of the earth.’ Nothing but pictures. Because, at a certain point, the words lead one to conclude that it is no longer possible to speak. Because these pictures are the unspeakable.
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Paul Auster. “The Book of Memory,” from The Invention of Solitude. Faber and Faber, 1982, pp. 102-103.
Please click on the images for a larger version.
Marcus Bunyan (Australian, b. 1958)
Untitled (family)
2005
From the series Photos my mother sent me, 2005
Rembrandt van Rijn (Dutch, 1641-1668)
Portrait of Titus
1655
Oil on canvas
Rembrandt van Rijn (Dutch, 1641-1668)
The Artists Son Titus
1657
Oil on canvas
Rembrandt van Rijn (Dutch, 1641-1668)
Portrait of Titus
1663
Oil on canvas
Unknown artist
Sir Walter Ralegh and son
1602
Oil on canvas
78 1/2 in. x 50 1/8 in. (1994 mm x 1273mm)
Given by Lennard family, 1954
National Portrait Gallery, London
Anonymous photographer
Portrait of Anatole Mallarmé
c. 1874
Photograph
Unknown photographer
Anne Frank
10th October 1942
Hand written note from The Diary of a Young Girl
Photos of child victims on display at the Toul Sleng Genocide museum in Cambodia
Unknown photographer
Executions of Kiev Jews by German army mobile killing units (Einsatzgruppen) near Ivangorod Ukraine. A woman protects a child with her body as Einsatzgruppen soldiers aim their rifles
1942
Executions of Kiev Jews by German army mobile killing units (Einsatzgruppen) near Ivangorod Ukraine. The photo was mailed from the Eastern Front to Germany and intercepted at a Warsaw post office by a member of the Polish resistance collecting documentation on Nazi war crimes. The original print was owned by Tadeusz Mazur and Jerzy Tomaszewski and now resides in Historical Archives in Warsaw. The original German inscription on the back of the photograph reads, “Ukraine 1942, Jewish Action [operation], Ivangorod.”
Art Blart _ art and cultural memory archive 
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