By J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D. Cook-Radmore, L. Peese Binkhorst-Hoffscholte
Since the second one 1/2 the final century artwork historians, understanding that a dead ringer for Rembrandt’s paintings had turn 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. for you to stick with it the paintings begun by way of earlier generations, a bunch of prime Dutch paintings historians from the college and museum global joined forces within the past due Nineteen Sixties so as to research afresh the work often ascribed to the artist. The researchers got here jointly within the Rembrandt learn venture which used to be proven to supply the artwork international with a brand new regular reference paintings which might serve the group of artwork historians for the within reach and lengthy destiny.
They tested the originals of all works attributed to Rembrandt taking complete good thing about today’s subtle thoughts together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research ― thereby gaining worthwhile perception into the genesis and of the work.
The results of this meticulous learn is laid down chronologically within the following Volumes:
THIS quantity: A Corpus of Rembrandt work, quantity I, which offers with works from Rembrandt’s early years in Leiden(1629-1631), released in 1982.
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 attractiveness (1635-1642), released in 1990.
Each quantity includes a couple of Introductory Chapters in addition to the total 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 overview of the work 3 diversified different types are used to divide the works in:
A. work through Rembrandt,
B. work of which Rembrandt’s authorship can't be definitely both permitted or rejected, and
C. work of which Rembrandt’s authorship can't be accredited.
This quantity (Volume I) includes 730 pages, beginning of with 4 introductory chapters and discussing ninety three work. In transparent and available explanatory textual content all various 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 by means of Rembrandt are mentioned, additionally utilizing his etchings as comparison.
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Additional resources for A Corpus of Rembrandt Paintings: 1625–1631 (Rembrandt Research Project Foundation)
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.
C. M. Groen, a colleague in the Analytical Chemistry Dept. of the Central Research Laboratory for Objects of Art and Science, Amsterdam. Drs. J. A. Mosk, head of the Analytical Chemistry Dept. at the Central Laboratory participated in the study of the painting in U tree hI. Analysis of paint samples vias done with the assistance of Miss. W. G. Th. Roelofs, Miss. Th. B. van Oosten and Mr. P. Hallebeek of the Central Laboratory. Mr. IJ. Hummelen, of the Laboratory's Paintings Dept. helped in preparing panels with various ground layers Ull the basis uf I 7th-cenlmy recipes, aml scarchcu the literature in this connexion.
Frocntjes in: Rembrandt in the Mauritshuis, Alphen aan de Rijn 1978; E. H. 91 (1977), pp. 27-65; H. von Sonnenburg, 'Rembrandts "Segen von Jakob" " Maltechnik I Restauro 74 (1978), pp. 217- 2 41. 2 Cf. M. Doerner, Malmaterial und seine Verwendung im Bilde, Munich 1922 1St edn, Stuttgart 1960, pp. 332 -338 and H. Ruhemann, The cleaning of paintings, London 1968, pp. , for example, the contribution to the discussion made by R. Buck during the symposium mentioned in note I, pp. 93 and 94; also H. Kuhn, 'Untersuchungen zu den Malgrunden Rembrandts', Jahrbuch der Staatlidwn Kunstsammlungen in Badm-Wiirltemherg 2 (1965), PI'.