Painting

A Corpus of Rembrandt Paintings I - 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

Because the moment 1/2 the final century artwork historians, figuring out that identical to Rembrandta (TM)s paintings had turn into blurred with time, have tried to redefine the artista (TM)s importance either as a resource of thought to different artists and as an exceptional artist in his personal correct. as a way to stick with it the paintings begun by means of prior generations, a bunch of best Dutch paintings historians from the college and museum global joined forces within the overdue Nineteen Sixties in an effort to learn afresh the work often ascribed to the artist. The researchers got here jointly within the Rembrandt study venture which used to be tested to supply the paintings international with a brand new normal reference paintings which might serve the neighborhood of artwork historians for the close by and lengthy destiny. They tested the originals of all works attributed to Rembrandt taking complete good thing about todaya (TM)s subtle suggestions together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research a « thereby gaining priceless perception into the genesis and situation of the work. the results of this meticulous examine is laid down chronologically within the following Volumes: THIS quantity: A Corpus of Rembrandt work, quantity I, which bargains with works from Rembrandta (TM)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 attractiveness (1635-1642), released in 1990. each one quantity comprises a few Introductory Chapters in addition to the complete 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 method, comprising a descriptive, an interpretative and a documentary part. For the authenticity evaluate of the work 3 diverse different types are used to divide the works in: A. work via Rembrandt, B. work of which Rembrandta (TM)s authorship can't be absolutely both accredited or rejected, and C. work of which Rembrandta (TM)s authorship can't be authorised. This quantity (Volume I) comprises 730 pages, beginning of with 4 introductory chapters and discussing ninety three work. In transparent and available explanatory textual content all diversified work are mentioned, larded with immaculate photos 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 through Rembrandt are mentioned, additionally utilizing his etchings as comparability.

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H. 93 (1979), pp. 96-115. The problem was first raised by W. M a rtin in the article referred to in note 1 I. 13 A. Bred ius, Kunst/er-Inventare IV, The Hague 19'7, p. 1168: 'Twee guldcnsmaten lysten sond er panneel; Twee 8 st[uyversJmatcnlysten'. 14 A. Bredius, Kiinstler-Inventare VI, The Hague ")1<), p. 2244: 'ehhe lysten: 4 scsentwintieh maten, 4 guldens matcn' . 15 I Rhineland foot = 12 duim (inches) = 144lijn (lin es). 616 cm . 16 Cf. Balaam (no. A 2 )63. 2 x 48 cm, two planks; David playing the harp to Saul (no.

C 17) and which presumably was also do~e in I 63 I. I t is more or less self-evident that the graphic 2 3 ' ... ' Ed. J. A. H. ), pp. 125-126. 4 Quoted in entry no. A 15 under 5. Documents and sources. For the term tronie sec p. 40, note 8. 7 THE STYLISTIC DEVELOPMENT interval, the Self-portraits of 1628 and 1629 (nos. A 14 and A 19) which are closely related despite their differences. 'Self-portrait' is really a misleading term to use for these paintings, even though we shall, for want of anything better, continue to employ it; although the word 'study' runs the risk of being anachronistic, one cannot escape the impression that the artist was in both of these examples, as well as in a number of etched self-portraits, setting himself one particular problem of lighting, one that was also occupying him at that very time in painting the Judas repentant.

6 cm C20 Leiden panels it is noticeable that they can nearly all be fitted into groups of panels having roughly the same measurements. Even the paintings that we regard as not being autograph but produced within Rembrandt's circle and others painted during the same period are often found to fit into these groups, as can be seen from the following list9 . The dimenSIOns may vary by several centimetres within the vanous groups. A 1 The stoning of S. 8 cm) A IS Judas repentant, private collection, England - ~ -- -- -- .

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