Because the moment 1/2 the final century paintings historians, knowing that clone of Rembrandt’s paintings had develop into blurred with time, have tried to redefine the artist’s value either as a resource of proposal to different artists and as a good artist in his personal correct. with the intention to keep on the paintings all started via past generations, a gaggle of top Dutch paintings historians from the collage and museum international joined forces within the past due Sixties with a purpose to learn afresh the work frequently ascribed to the artist. The researchers got here jointly within the Rembrandt learn undertaking which was once demonstrated to supply the paintings global with a brand new common reference paintings which might serve the group of artwork historians for the close by and lengthy destiny. They tested the originals of all works attributed to Rembrandt taking complete benefit of today’s subtle options together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research — thereby gaining precious perception into the genesis and situation of the work. This quantity (Volume III) comprises 820 pages, beginning of with 3 introductory chapters and discussing 86 work. In transparent and available explanatory textual content all diversified work are mentioned, larded with immaculate photos of every portray. information are proven the place attainable, in addition to the result of modern-day technical imaging. during this quantity very important work together with the evening Watch are mentioned.
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Additional info for A Corpus of Rembrandt Paintings III - 1635–1642
Cf. however what is said below about Bol. ' ... aangaande de maniere van Teikenen, en behandelen, niet soo stipt moet staan om die aile Discipelen, even eens als cen ktmsje of maatwet, op te dringen, maar liever wat onverschillig daarin te zijn, en enige vryheid geven die binnen de wenen der konst blijvende, best met het humeur vanden Discipel overeenstemt'. Goeree op. cit. 7, pp. 32-33. The gratifying thing about this text is that the author comes down for one side in what was evidently a choice.
We have come across a drawn copy of another, in Milan (no. C 57), with an inscription that may be seen as the signature of Dirck Santvoort and with a similar drawing (fig. 3) after Rembrandt's 1632 Portrait of the artist as a burgher in Glasgow (no. A 58) as its companion-piece. Does this make Santvoort a candidate for the painted version in Milan? The mention in 1647 of a 'Tronij na Rembrant van Dirck van Santvoort' alongside a 'Tronij van Rembrant( ... ), in an estate valuation done by none less than Hendrick Uylenburgh49 tempts one to see in Santvoort - who became a master in the Amsterdam guild only in 1636 - one of the young artists trained elsewhere who came to work in Rembrandt's studio, and thus a potential author of rembrandtesque tronies.
Gerson p. 66, where it is however assumed that these portraits would have been copied after original Rembrandts. It is not unknown for pupils to paint portraits of their master; see, for instance, 'het conterfeitsel van Lamberts selven door J. Ariens [Backer] gedaen' in the estate of Lambert Jacobsz. L. Straat, 'Lambert Jacobsz, schilder', De vrije Fries 28, 1925, pp. 53-94, esp. 73 no. 24). Including, besides autograph work such as the Toledo Bust of a young man and perhaps that in Florence (no.
A Corpus of Rembrandt Paintings III - 1635–1642