A Corpus of Rembrandt Paintings: II: 1631–1634 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, knowing that clone of Rembrandt’s paintings had turn into blurred with time, have tried to redefine the artist’s value either as a resource of notion to different artists and as a superb artist in his personal correct. for you to keep on the paintings began by means of earlier generations, a bunch of prime Dutch paintings historians from the college and museum global joined forces within the overdue Sixties for you to examine afresh the work frequently ascribed to the artist. The researchers got here jointly within the Rembrandt learn undertaking which was once verified to supply the paintings international with a brand new regular reference paintings which might serve the neighborhood of artwork historians for the within sight and lengthy destiny.

They tested the originals of all works attributed to Rembrandt taking complete benefit of today’s refined recommendations together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research ― thereby gaining invaluable perception into the genesis and situation of the work.

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

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

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

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

Each quantity contains a couple of Introductory Chapters in addition to the whole 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 overview of the work 3 varied different types are used to divide the works in:

A. work via Rembrandt,
B. work of which Rembrandt’s authorship can't be absolutely both authorized or rejected, and
C. work of which Rembrandt’s authorship can't be permitted.

This quantity (Volume II) includes 900 pages, beginning of with 5 introductory chapters and discussing a hundred and one work. In transparent and obtainable explanatory textual content all varied work are mentioned, larded with immaculate photographs of every portray. information are proven the place attainable, in addition to the result of modern-day technical imaging.

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Extra resources for A Corpus of Rembrandt Paintings: II: 1631–1634

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Aux toiles de la ville de Gand, 1806). This publication provides us with a survey of the traditional standard widths. The ell was the unit of measure. Standard widths could also be based on fourth or even eighth and sixteenth parts of the el!. In this rather refined system of standard widths one finds such widths as t (Brabant) ell = 87 cm, £ell = 105 cm, and nil = 140cm, which are also familiar from 17th-century sources. The exact length of the ell varied of course from region to region. 31 Nicolaas Witsen, op.

T6th-Ubbens, W. d. Rijn 1978, pp. 206, 214 and 216. I I A. van Schendel, ' Notes on the support of Rembrandt 's Claudius Civilis', Konsthistorisk Tidskrift 25 ( [956 ), pp. 38- 42. - 18. Jahrhunderts , Berlin-Dahlem 1975, p. 338, no. 802. The technical examination of the X-rays in connexion with the original size of the painting was focussed on the presence and depth of the cusping (personal communication of Mr Hans Boehm). 13 A. B. de Vries, M. T6th-Ubbens and W. Froentjes, op. cit. (note 10), p.

116-117. Mrs K. Levy, who initially assisted as a graduate student in collecting written sour~es for the preparation Oflhis cpapter, found much interesting information on canvas used or usable by painters, which she intends to publish in a separate article on the subject. 39 In, for instance, the technical instruction sheet on the stretching of canvas· issued by the Royal Academy for Visual Arts in Amsterdam, it is advised alwa ys to have the warp direction parallel to the longest side of the stretcher.

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