Spinoza: A Life

Cambridge University Press
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Baruch Spinoza (1632–1677) was one of the most important philosophers of all time; he was also arguably the most radical and controversial. This was the first complete biography of Spinoza in any language and is based on detailed archival research. More than simply recounting the story of Spinoza's life, the book takes the reader right into the heart of Jewish Amsterdam in the seventeenth century and, with Spinoza's exile from Judaism, right into the midst of the tumultuous political, social, intellectual and religious world of the young Dutch Republic. Though the book will be an invaluable resource for philosophers, historians, and scholars of Jewish thought, it has been written for any member of the general reading public with a serious interest in philosophy, Jewish history, seventeenth-century European history, and the culture of the Dutch Golden Age. Spinoza: A Life has recently been awarded the Koret Jewish Book Award.
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Additional Information

Publisher
Cambridge University Press
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Published on
Apr 23, 2001
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Pages
473
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ISBN
9781107393530
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Language
English
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Genres
Philosophy / Eastern
Philosophy / General
Philosophy / History & Surveys / General
Philosophy / History & Surveys / Modern
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Content Protection
This content is DRM protected.
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In the Louvre museum hangs a portrait that is considered the iconic image of René Descartes, the great seventeenth-century French philosopher. And the painter of the work? The Dutch master Frans Hals--or so it was long believed, until the work was downgraded to a copy of an original. But where is the authentic version, and who painted it? Is the man in the painting--and in its original--really Descartes?

A unique combination of philosophy, biography, and art history, The Philosopher, the Priest, and the Painter investigates the remarkable individuals and circumstances behind a small portrait. Through this image--and the intersecting lives of a brilliant philosopher, a Catholic priest, and a gifted painter--Steven Nadler opens a fascinating portal into Descartes's life and times, skillfully presenting an accessible introduction to Descartes's philosophical and scientific ideas, and an illuminating tour of the volatile political and religious environment of the Dutch Golden Age. As Nadler shows, Descartes's innovative ideas about the world, about human nature and knowledge, and about philosophy itself, stirred great controversy. Philosophical and theological critics vigorously opposed his views, and civil and ecclesiastic authorities condemned his writings. Nevertheless, Descartes's thought came to dominate the philosophical world of the period, and can rightly be called the philosophy of the seventeenth century.


Shedding light on a well-known image, The Philosopher, the Priest, and the Painter offers an engaging exploration of a celebrated philosopher's world and work.

There is a popular and romantic myth about Rembrandt and the Jewish people. One of history's greatest artists, we are often told, had a special affinity for Judaism. With so many of Rembrandt's works devoted to stories of the Hebrew Bible, and with his apparent penchant for Jewish themes and the sympathetic portrayal of Jewish faces, it is no wonder that the myth has endured for centuries.

Rembrandt's Jews puts this myth to the test as it examines both the legend and the reality of Rembrandt's relationship to Jews and Judaism. In his elegantly written and engrossing tour of Jewish Amsterdam—which begins in 1653 as workers are repairing Rembrandt's Portuguese-Jewish neighbor's house and completely disrupting the artist's life and livelihood—Steven Nadler tells us the stories of the artist's portraits of Jewish sitters, of his mundane and often contentious dealings with his neighbors in the Jewish quarter of Amsterdam, and of the tolerant setting that city provided for Sephardic and Ashkenazic Jews fleeing persecution in other parts of Europe. As Nadler shows, Rembrandt was only one of a number of prominent seventeenth-century Dutch painters and draftsmen who found inspiration in Jewish subjects. Looking at other artists, such as the landscape painter Jacob van Ruisdael and Emmanuel de Witte, a celebrated painter of architectural interiors, Nadler is able to build a deep and complex account of the remarkable relationship between Dutch and Jewish cultures in the period, evidenced in the dispassionate, even ordinary ways in which Jews and their religion are represented—far from the demonization and grotesque caricatures, the iconography of the outsider, so often found in depictions of Jews during the Middle Ages and the Renaissance.

Through his close look at paintings, etchings, and drawings; in his discussion of intellectual and social life during the Dutch Golden Age; and even through his own travels in pursuit of his subject, Nadler takes the reader through Jewish Amsterdam then and now—a trip that, under ever-threatening Dutch skies, is full of colorful and eccentric personalities, fiery debates, and magnificent art.
When it appeared in 1670, Baruch Spinoza's Theological-Political Treatise was denounced as the most dangerous book ever published--"godless," "full of abominations," "a book forged in hell . . . by the devil himself." Religious and secular authorities saw it as a threat to faith, social and political harmony, and everyday morality, and its author was almost universally regarded as a religious subversive and political radical who sought to spread atheism throughout Europe. Yet Spinoza's book has contributed as much as the Declaration of Independence or Thomas Paine's Common Sense to modern liberal, secular, and democratic thinking. In A Book Forged in Hell, Steven Nadler tells the fascinating story of this extraordinary book: its radical claims and their background in the philosophical, religious, and political tensions of the Dutch Golden Age, as well as the vitriolic reaction these ideas inspired.

It is not hard to see why Spinoza's Treatise was so important or so controversial, or why the uproar it caused is one of the most significant events in European intellectual history. In the book, Spinoza became the first to argue that the Bible is not literally the word of God but rather a work of human literature; that true religion has nothing to do with theology, liturgical ceremonies, or sectarian dogma; and that religious authorities should have no role in governing a modern state. He also denied the reality of miracles and divine providence, reinterpreted the nature of prophecy, and made an eloquent plea for toleration and democracy.


A vivid story of incendiary ideas and vicious backlash, A Book Forged in Hell will interest anyone who is curious about the origin of some of our most cherished modern beliefs.

There is a popular and romantic myth about Rembrandt and the Jewish people. One of history's greatest artists, we are often told, had a special affinity for Judaism. With so many of Rembrandt's works devoted to stories of the Hebrew Bible, and with his apparent penchant for Jewish themes and the sympathetic portrayal of Jewish faces, it is no wonder that the myth has endured for centuries.

Rembrandt's Jews puts this myth to the test as it examines both the legend and the reality of Rembrandt's relationship to Jews and Judaism. In his elegantly written and engrossing tour of Jewish Amsterdam—which begins in 1653 as workers are repairing Rembrandt's Portuguese-Jewish neighbor's house and completely disrupting the artist's life and livelihood—Steven Nadler tells us the stories of the artist's portraits of Jewish sitters, of his mundane and often contentious dealings with his neighbors in the Jewish quarter of Amsterdam, and of the tolerant setting that city provided for Sephardic and Ashkenazic Jews fleeing persecution in other parts of Europe. As Nadler shows, Rembrandt was only one of a number of prominent seventeenth-century Dutch painters and draftsmen who found inspiration in Jewish subjects. Looking at other artists, such as the landscape painter Jacob van Ruisdael and Emmanuel de Witte, a celebrated painter of architectural interiors, Nadler is able to build a deep and complex account of the remarkable relationship between Dutch and Jewish cultures in the period, evidenced in the dispassionate, even ordinary ways in which Jews and their religion are represented—far from the demonization and grotesque caricatures, the iconography of the outsider, so often found in depictions of Jews during the Middle Ages and the Renaissance.

Through his close look at paintings, etchings, and drawings; in his discussion of intellectual and social life during the Dutch Golden Age; and even through his own travels in pursuit of his subject, Nadler takes the reader through Jewish Amsterdam then and now—a trip that, under ever-threatening Dutch skies, is full of colorful and eccentric personalities, fiery debates, and magnificent art.
In the Louvre museum hangs a portrait that is considered the iconic image of René Descartes, the great seventeenth-century French philosopher. And the painter of the work? The Dutch master Frans Hals--or so it was long believed, until the work was downgraded to a copy of an original. But where is the authentic version, and who painted it? Is the man in the painting--and in its original--really Descartes?

A unique combination of philosophy, biography, and art history, The Philosopher, the Priest, and the Painter investigates the remarkable individuals and circumstances behind a small portrait. Through this image--and the intersecting lives of a brilliant philosopher, a Catholic priest, and a gifted painter--Steven Nadler opens a fascinating portal into Descartes's life and times, skillfully presenting an accessible introduction to Descartes's philosophical and scientific ideas, and an illuminating tour of the volatile political and religious environment of the Dutch Golden Age. As Nadler shows, Descartes's innovative ideas about the world, about human nature and knowledge, and about philosophy itself, stirred great controversy. Philosophical and theological critics vigorously opposed his views, and civil and ecclesiastic authorities condemned his writings. Nevertheless, Descartes's thought came to dominate the philosophical world of the period, and can rightly be called the philosophy of the seventeenth century.


Shedding light on a well-known image, The Philosopher, the Priest, and the Painter offers an engaging exploration of a celebrated philosopher's world and work.

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