A Corpus of Rembrandt Paintings: The Self-Portraits by Ernst van de Wetering

By Ernst van de Wetering

Volume IV of A Corpus of Rembrandt Paintings bargains uniquely with the self-portraits of Rembrandt. In a essentially written explanatory sort the top of the Rembrandt learn undertaking and Editor of this quantity, Ernst van de Wetering, discusses the whole physique of labor of work and etchings portraying Rembrandt. He units different parameters for accepting or rejecting a Rembrandt self-portrait as such, while additionally discussing the precise operating setting of Rembrandt and his apprentices. This workshop surroundings created a atmosphere the place apprentices should be concerned about engaged on Rembrandt work making it more challenging to figure out the hand of the grasp. Van de Wetering, who's one of many Rembrandt specialists of our day and age, is going all the way down to nice aspect to provide an explanation for how the several self-portraits are made and what innovations Rembrandt makes use of, additionally giving an outline of which work are to be attributed to the Dutch grasp and which now not.

In the extra catalogue the self-portraits are tested intimately. In transparent and available explanatory textual content the several work are mentioned, larded with immaculate pictures of every portray. info are proven the place attainable, in addition to the result of modern-day technical imaging like X-radiography.

This murals background and paintings learn may be a part of each critical paintings ancient institute, collage or museum. Nowhere within the artwork historical past have all Rembrandt’s self graphics been mentioned in such designated and comparative demeanour by means of an expert comparable to Ernst van de Wetering. this can be a general paintings for many years to come back.

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II C 61 fig. 10 LEIDEN, Stedelijk Museum De Lakenhal: Chapter III figs. 139, 140, 303 -, Universiteitsbibliotheek: Chapter I fig. 4b LEIPZIG, Museum der bildenden Kunste: Chapter III figs. 65, 253, 257; IV 4 figs. 1,2,5 LISBON, Fundacao Medeiros e Almeida (photo RKD The Hague): IV21 fig. 8 LIVERPOOL, Walker Art Gallery (The Board of Trustees of the National Museums and Galleries on Merseyside): Chapter III figs. 3, 143, 144; IV Corr. I A 33 fig. XXXI PHOTO ACKNOWLEDGMENTS The British Museum: Chapter III figs.

At the same time, he noted th at our knowledge of past attributions is based on inform ation from inventories and sales catalogues, which should be viewed with great caution. In this essay, I consider whether or not our preoccupation with differenti atin g between artists' hands is an anac hronism. Given that this subject will be dealt with in general terms, mu ch of this chapt er will not dir ectly relate to works by Rembrandt. To my knowledge, this is the first att empt to gather and an alyse the archival material pertaining to the issue at han d.

1,2,3,4 -, The Metropolitan Museum of Art, Bequest of Benjamin Altman, 1913: Chapter III figs. 67, 299, 306, 311, 313, 326, 327; IV 20 figs. 1,2,4,5,6 -, -, - (photo Brookhaven, Laboratory Upton, New York Photography Division): IV 20 fig. 3 -, -, Bequest of Mrs. O. Havemeyer (photo Malcolm Varon): Chapter III fig. 250 -, - , Gift of Archer M. Huntington, 1926: Chapter III figs. 63, 64; IV 20 fig. 7, IV 21 fig. 4 -, -, Robert Lehman Collection, 1975: Chapter III fig. 112 NUREMBERG, Germanisches Nationalmuseum: Chapter II fig.

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