A Corpus of Rembrandt Paintings: 1625–1631 by J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D.

By J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D. Cook-Radmore, L. Peese Binkhorst-Hoffscholte

Since the second one half the final century paintings historians, figuring out that a dead ringer for Rembrandt’s paintings had develop into blurred with time, have tried to redefine the artist’s importance either as a resource of idea to different artists and as a very good artist in his personal correct. for you to keep on the paintings all started via earlier generations, a gaggle of top Dutch paintings historians from the college and museum global joined forces within the past due Nineteen Sixties which will learn afresh the work often ascribed to the artist. The researchers got here jointly within the Rembrandt study venture which used to be proven to supply the paintings international with a brand new usual reference paintings which might serve the neighborhood of paintings historians for the close by and lengthy destiny.

They tested the originals of all works attributed to Rembrandt taking complete good thing about today’s subtle ideas together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research ― thereby gaining beneficial perception into the genesis and situation of the work.

The results of this meticulous study is laid down chronologically within the following Volumes:

THIS quantity: A Corpus of Rembrandt work, quantity I, which offers with works from Rembrandt’s early years in Leiden(1629-1631), released in 1982.

A Corpus of Rembrandt work, quantity II, protecting his first years in Amsterdam (1631-1634), released in 1986.

A Corpus of Rembrandt work, quantity III, is going into his later years of popularity (1635-1642), released in 1990.

Each quantity involves a couple of Introductory Chapters in addition to the total Catalogue of all work from the given period of time attributed to Rembrandt. during this catalogue each one portray is mentioned and tested in a close means, comprising a descriptive, an interpretative and a documentary part. For the authenticity overview of the work 3 various different types are used to divide the works in:

A. work through Rembrandt,
B. work of which Rembrandt’s authorship can't be definitely both authorized or rejected, and
C. work of which Rembrandt’s authorship can't be approved.

This quantity (Volume I) comprises 730 pages, beginning of with 4 introductory chapters and discussing ninety three work. In transparent and obtainable explanatory textual content all diversified work are mentioned, larded with immaculate pictures of every portray. information are proven the place attainable, in addition to the result of modern-day technical imaging. during this quantity the 1st ever works via Rembrandt are mentioned, additionally utilizing his etchings as comparison.

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Extra resources for A Corpus of Rembrandt Paintings: 1625–1631

Sample text

We arc particularly indebted to Mrs. C. M. Groen for her assistance and advice during the preparation of this chapter. 1I PAINTING MATERIALS AND WORKING METHODS interesting that the bulk of these observations could be interpreted satisfactorily - in some cases subsequently - only in the light of knowledge gained in the meantime. The same was true to a very large extent for the available X-rays (of 39 of the 4'2 authentic paintings), which in the relationship they bear to the forms visible at the paint surface could be read to make sense only when they are seen against the assumed sequence of Rembrandt's working method; they thus in their turn provide a large measure of confirmation of our theory as to the painting procedure.

Without 4 THE STYLISTIC DEVELOPMENT painting; the reintroduction of a richer colourscheme and the strikingly careful rendering of materials, too, may well stem from the same cause. At all events, the last result reflects a tendency apparent during 1629 in as much as the light is, for by far the greater part, softened and strong contrasts of light and dark are avoided. This tendency is seen quite clearly if one compares two such similar works as the small Self-portrait in Munich (no. A 19), dated r629, and that in Amsterdam (no.

A 27, B 5, B 6; cf. W. H. 84 (1969), pp. 233 237· 8 No. A 16. 5 O. Benesch, Rembrandt, selected drawing]', London New York 1947, pp. 8- I 3; Chr. White, Rembrandt as an etcher, Lonclon 1969, pp. 14 18. 1'2 PAINTING MATERIALS AND WORKING METHODS Fig. I. Back of panel bevelled along four sides (no. AS ) right angles to the annual rings), the reason being that a plank sawn like this has less tendency to warp. This way of sawing up a log produces what is fundamentally a wedge-shaped board, and this wedge shape can still often be seen to some extent (fig.

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