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The conclusion, “Historiography and Race,” is a close reading of the reception of Rembrandt’s painting Syndics of the Drapers’ Guild, considering various readings of the painting by Roland Barthes, Alois Riegl, and Derek Walcott. Ultimately, this chapter demonstrates that race has been integral to the historiography of Dutch painting since the nineteenth century and has frequently been obfuscated and ignored by later scholars, with the exception of Walcott, for whom Rembrandt and race play a critical role in his work The Prodigal.

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