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题目材料：
In recent years, revisionist Rembrandt scholars have opposed nineteenth-century Romanticism and what they claim was its fanciful vision of the seventeenth-century Dutch painter. Pulled from his pedestal, the solitary genius has been situated instead within the collective institution of the “workshop" where he employed and trained students and artists. Revisionist scholarship has recovered no timeless, universalizing Rembrandt, but a figure anchored in time and place. The revised Rembrandt is no longer the autodidact child of nature who answered only perfunctorily to his patrons, but a painter who responded to their demands and used his powers of invention to fatter not confound. Rembrandt ultimately preferred candid naturalism to decorous classicism not, we are instructed magisterially, because he was hostile to classicism's norms, but because he saw no special conflict between the two visual idioms. And unlike the Romantics, who embraced the famous 1681 description of Rembrandt as “the first heretic of painting, revisionists view him as obsessed with emulating一and perhaps surpassing—the great Renaissance masters.
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