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, knowing that a dead ringer for Rembrandt’s paintings had turn into blurred with time, have tried to redefine the artist’s importance either as a resource of concept to different artists and as an excellent artist in his personal correct. so as to stick with it the paintings began through earlier generations, a gaggle of best Dutch artwork historians from the collage and museum global joined forces within the past due Sixties with the intention to examine afresh the work frequently ascribed to the artist. The researchers got here jointly within the Rembrandt learn undertaking which used to be verified to supply the paintings international with a brand new general reference paintings which might serve the neighborhood of paintings historians for the within reach and lengthy destiny.
They tested the originals of all works attributed to Rembrandt taking complete good thing about today’s subtle thoughts together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research ― thereby gaining invaluable perception into the genesis and of the work.
The results of this meticulous learn 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, masking his first years in Amsterdam (1631-1634), released in 1986.
A Corpus of Rembrandt work, quantity III, is going into his later years of recognition (1635-1642), released in 1990.
Each quantity contains a few Introductory Chapters in addition to the entire Catalogue of all work from the given period of time attributed to Rembrandt. during this catalogue each one portray is mentioned and tested in an in depth approach, comprising a descriptive, an interpretative and a documentary part. For the authenticity evaluate of the work 3 various different types are used to divide the works in:
A. work via Rembrandt,
B. work of which Rembrandt’s authorship can't be certainly both accredited or rejected, and
C. work of which Rembrandt’s authorship can't be accredited.
This quantity (Volume I) includes 730 pages, beginning of with 4 introductory chapters and discussing ninety three work. In transparent and available explanatory textual content all varied work are mentioned, larded with immaculate photographs of every portray. info are proven the place attainable, in addition to the result of modern-day technical imaging. during this quantity the 1st ever works by means of Rembrandt are mentioned, additionally utilizing his etchings as comparison.
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Extra resources for A Corpus of Rembrandt Paintings: 1625–1631
In this large-format work (it is almost the same size as the Boston Se(f-portrait) the accessories, including the cap which had been given a full, plastic form in the earlier work, are dealt with summarily as scarcely more than a silhouette. Even the lit area of the head has little detail, though the continuity of the brushstroke, which bends to follow the form, is here clearly intended to generate the suggestion of plasticity. The result is, because of its rather empty appearance, not very satisfactory, although surely characteristic of the urge felt during these final years in Leiden to find a simplified form for the figure seen at some distance and on a large scale.
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.
8 x 50 cm, three planks; S. Peter in prison (no. 8 cm, single plank. 'series'17, it is probable that Rembrandt bought several panels at a time. This supposi tion is further borne out by the appearance of whole lots ofidentical panels in some painters' inventories 18 ; and the discovery by Prof. Dr. J. Bauch that in a number of cases two or more panels used by Rembrandt came from the same treetrunk is evidence for the correctness of this assumption 19 . The ground In his study of the grounds on Rembrandt's panels and canvases - a study in which samples of the ground were taken for analysis from 75 pain tings attributed to Rembrandt, from all periods - Kuhn finally arrived at four main types: chalk, white lead, ochre and quartz grounds 20 .
A Corpus of Rembrandt Paintings: 1625–1631 by J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D. Cook-Radmore, L. Peese Binkhorst-Hoffscholte