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

Because the moment half the final century paintings historians, understanding that similar to Rembrandt’s paintings had turn 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. with a purpose to keep it up the paintings began through prior generations, a bunch of top Dutch paintings historians from the collage and museum global joined forces within the overdue Nineteen Sixties so that it will learn afresh the work often ascribed to the artist. The researchers got here jointly within the Rembrandt study undertaking which was once confirmed to supply the artwork international with a brand new commonplace reference paintings which might serve the neighborhood of paintings historians for the within sight and lengthy destiny. They tested the originals of all works attributed to Rembrandt taking complete good thing about today’s subtle innovations together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research — thereby gaining priceless perception into the genesis and situation of the work. This quantity (Volume II) comprises 900 pages, beginning of with 5 introductory chapters and discussing a hundred and one work. In transparent and available explanatory textual content all diversified 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.

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The equivalent of sailcloth was mentioned as 'canevas' (canvas). S. Lootsma, op. cit. (note 23), p. 176 cites an 18th-century letter in which mention is made of 'canefas of zeijldoeken' (canvas or sailcloths). 25 M. K. Talley, 'Extracts from the executors account-book of Sir Peter Lely, 1679-1691: An account of the contents of Sir Peter's studio', Burl. Mag. 120 (1978), pp. 745-749, esp. 747. In the same inventory canvas and 'satten' (satin) are listed as support material. 26 J. A. Boot, op. cit.

E. Houtzager, M. Meier-Siem, H. ]. de Smedt), Utrecht 1967, pp. 6163. * an absence of cusping, that a painting like this had been reduced by later hands on the side or sides in question? Research in the area of fabric supports has been less extensive than the study of panels 3 • There have, of course, long been general notions as to the differences in the kinds of canvas used by various schools4 • Methods of stretching have occasionally been the subject of stud/, but those used in I7thcentury Holland have been looked at hardly at a1l 6 , and there have been only a few, limited attempts at a systematic examination of the types of canvas occurring within the oeuvre of a single artise.

44· 27 J. A. Boot, op. cit. (note 23), p. 21; S. Lootsma, op. cit. (note 23), p. 38; J. G. van Bel, De linnenhandel van Amsterdam in de XV/lIe eeuw, Amsterdam 1950, pp. 12-2 I. 28 S. Lootsma, op. cit. (note 23), p. 38; J. G. van Bel, op. cit. (note 27), pp. 21-47; J. Horner, The linen trade rif Europe during the spinning wheel period, Belfast 1920, p. 353; J. Bastin, De Gentse lijnwaadmarkt en linnenhandel in de XVlIe eeuw, Ghent 1968, p. 15; L. Guicciardini, Beschrijvinghe van aUe de Nederlanden, Amsterdam 1612 (first Italian edn.

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A Corpus of Rembrandt Paintings II - 1631–1634 by J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D. Cook-Radmore, L. Peese Binkhorst-Hoffscholte


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