Forest Gone Missing: Unlearning Art History, Resisting Representation

This article reconsiders the methodological primacy of representation in early modern art history by shifting attention from image to material. Taking Rembrandt’s Polish Nobleman (1637) as its point of departure, it argues that narrative interpretation—long central to the discipline—has obscured the material conditions that make images possible. Rather than assembling meaning from pictorial elements, the essay follows the painting’s support: a Baltic oak panel sourced from the woodlands of the Polish–Lithuanian Commonwealth. From this perspective, the artwork emerges not simply as an autonomous image but as the endpoint of an extractive chain linking forestry, peasant labour, river transport, and long-distance trade. Drawing on agronomic manuals, estate records, and economic histories, the article reconstructs these dispersed threads as “story matter”: fragments that, brought into relation, begin to cohere into an alternative mode of narration. In doing so, it advances “material literacy” as a methodological reorientation—an attunement to substances, processes, and infrastructures that precede and exceed representation. Recovering these histories does not replace interpretation but expands its scope, opening art history to ecological and infrastructural forms of storytelling.