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 just like Rembrandt’s paintings had turn into blurred with time, have tried to redefine the artist’s importance either as a resource of thought to different artists and as an excellent artist in his personal correct. so one can keep it up the paintings all started by way of earlier generations, a gaggle of prime Dutch paintings historians from the college and museum global joined forces within the overdue Sixties as a way to examine afresh the work often ascribed to the artist. The researchers got here jointly within the Rembrandt examine undertaking which was once proven to supply the artwork international with a brand new regular reference paintings which might serve the group 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 thoughts together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research ― thereby gaining important perception into the genesis and situation 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 bargains with works from Rembrandt’s early years in Leiden(1629-1631), released in 1982.
A Corpus of Rembrandt work, quantity II, masking his first years in Amsterdam (1631-1634), released in 1986.
A Corpus of Rembrandt work, quantity III, is going into his later years of popularity (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 every one portray is mentioned and tested in an in depth approach, comprising a descriptive, an interpretative and a documentary part. For the authenticity review of the work 3 diversified 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 approved or rejected, and
C. work of which Rembrandt’s authorship can't be permitted.
This quantity (Volume I) comprises 730 pages, beginning of with 4 introductory chapters and discussing ninety three work. In transparent and available explanatory textual content all diverse work are mentioned, larded with immaculate photographs 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 way of Rembrandt are mentioned, additionally utilizing his etchings as comparison.
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Additional info for A Corpus of Rembrandt Paintings: 1625–1631
A 4 I) and the Old man in gorget and cap in Chicago (no. A 42). The former is dated 163 I, but only in its completed state, painted on top of a markedly different version which is more rich in contrast. Although both are closely related to the Leiden paintings, there is of course no certainty that work on them was not completed only in Amsterdam. They are painted on panels of about the same size, but certainly do not form pendants. It can hardly be pure chance, however, that a young man and an old man should provide the subjects.
A32), probably datable as 1630/31, shows a similar lighting but has a completely individual handling of paint in the face, lit from the front right. Small dabs of paint in flesh colours, pink and a trace of grey model the entire surface in a way not seen in any other work. There is nothing to presage the vigorous brushstrokes and strong accents of the Portrait of an 83-year-old woman in the National Gallery, London (Br. 343), dated 1634. Other features do however provide sufficient support for the old attribution, and one must assume that what we see here is an isolated solution arrived at on this occasion during a series of experimen ts in portraying wrinkled skin.
One is the Innsbruck Old man, already mentioned; the other, the Salzburg Old woman at prayer (no. A 27), which is even smaller and painted on copper, fits in its conception and execution into the picture of Rembrandt's development as a painter of historical subjects and - allowing for the difference of subject-matter and the exceptional 8 THE STYLISTIC DEVELOPMENT shape; the background shows some light and shade, but is practically smooth. In the Old man we see a broad brushstroke in the background, and in the lit area of the head a more clearly articulating, more impasto touch, which here and there even embraces the modelling in a vigorous movement.
A Corpus of Rembrandt Paintings: 1625–1631 by J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D. Cook-Radmore, L. Peese Binkhorst-Hoffscholte