A Corpus of Rembrandt Paintings: Volume 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 1/2 the final century artwork historians, knowing that a twin of Rembrandt’s paintings had turn into blurred with time, have tried to redefine the artist’s importance either as a resource of proposal to different artists and as an outstanding artist in his personal correct. which will stick with it the paintings all started by means of past generations, a bunch of best Dutch paintings historians from the college and museum global joined forces within the overdue Sixties so that it will learn afresh the work often ascribed to the artist. The researchers got here jointly within the Rembrandt examine undertaking which was once demonstrated to supply the paintings international with a brand new commonplace 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 refined ideas together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research ― thereby gaining useful perception into the genesis and of the work.

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

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

THIS quantity: A Corpus of Rembrandt work, quantity II, protecting 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 comprises a couple of Introductory Chapters in addition to the entire Catalogue of all work from the given period of time attributed to Rembrandt. during this catalogue each one portray is mentioned and tested in a close method, comprising a descriptive, an interpretative and a documentary part. For the authenticity evaluate of the work 3 varied different types are used to divide the works in:

A. work by means of Rembrandt,
B. work of which Rembrandt’s authorship can't be certainly both authorized or rejected, and
C. work of which Rembrandt’s authorship can't be approved.

This quantity (Volume II) comprises 900 pages, beginning of with 5 introductory chapters and discussing one hundred and one work. In transparent and obtainable explanatory textual content all diverse 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.

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Extra resources for A Corpus of Rembrandt Paintings: Volume II: 1631–1634 (Rembrandt Research Project Foundation)

Example text

So far, no Dutch canvas support with an openstructured, gauzelike weave has been met with; possibly Italian canvas types with a relatively open structure are referred to here (cf. Rudel, op. cit. note 4). Cf. also Simon Eikelenberg's manuscript notes on painting technique written about 1700 (Alkmaar, Municipal Archive), p. ) 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).

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. 1567), pp. 97-98, 217. Nicolaas Witsen mentions in his Aeloude en Hedendaagsche ScheepsBouw II, Amsterdam 1671, p.

Cit. (note (9 ), gives various recipes that all testify to this intention. On pp. 5 and 5 vo (edn. Berger, p. (02) he mentions three times the smoothing of the first ground layer with pumice stone, and illustrates the priming knife, which is slightly curved in order not to cause scratches in the ground layer as the canvas yields to its pressure. On p. 87 (edn. Berger p. 252 ) he again recommends smoothing ('en raclant') first with the priming knife and then ('egualc' ) with pumice stone of the first ground layer.

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