Spinoza and Rembrandt were contemporaries and in fact they were neighbours in Amsterdam. Even though there is no record that they ever met, it is hard to imagine that they never crossed paths. This article seeks to explore common ideas that we can find in the philosopher and the painter. This contributes both to a philosophical examination of Rembrandt and examines the possibility of an aesthetics in Spinoza.

The second and final volume of the most authoritative English-language edition of Spinoza's writings The Collected Works of Spinoza provides, for the first time in English, a truly satisfactory edition of all of Spinoza's writings, with accurate and readable translations, based on the best critical editions of the original-language texts, done by a scholar who has published extensively on the philosopher's work. The centerpiece of this second volume is Spinoza’s Theological-Political Treatise, a landmark work in the history of biblical scholarship, (...) the first argument for democracy by a major philosopher, and a forceful defense of freedom of thought and expression. This work is accompanied by Spinoza’s later correspondence, much of which responds to criticism of the Theological-Political Treatise. The volume also includes his last work, the unfinished Political Treatise, which builds on the foundations of the Theological-Political Treatise to offer plans for the organization of nontyrannical monarchies and aristocracies. The elaborate editorial apparatus—including prefaces, notes, glossary, and indexes—assists the reader in understanding one of the world’s most fascinating, but also most difficult, philosophers. Of particular interest is the glossary-index, which provides extensive commentary on Spinoza’s technical vocabulary. A milestone of scholarship more than forty-five years in the making, The Collected Works of Spinoza is an essential edition for anyone with a serious interest in Spinoza or the history of philosophy. (shrink)

Some critics have claimed that Spinoza's philosophy has nothing to offer aesthetics. I argue that within his conception of an ars vivendi one can discern a nascent theory of art. I bring the figure of the prophet in relation to that of the artist and, alongside a consideration of Spinoza's views on goodness and beauty, show that the special talent of the artist should be understood in terms of the entirely natural expression of the conatus.