By J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D. Cook-Radmore, L. Peese Binkhorst-Hoffscholte
Because the moment 1/2 the final century artwork historians, knowing that identical to Rembrandt’s paintings had develop into blurred with time, have tried to redefine the artist’s importance either as a resource of concept to different artists and as an outstanding artist in his personal correct. for you to keep it up the paintings begun through earlier generations, a gaggle of best Dutch paintings historians from the college and museum global joined forces within the past due Nineteen Sixties so that it will learn afresh the work often ascribed to the artist. The researchers got here jointly within the Rembrandt examine venture which was once validated to supply the artwork international with a brand new commonplace reference paintings which might serve the neighborhood of artwork historians for the close by and lengthy destiny. They tested the originals of all works attributed to Rembrandt taking complete good thing about today’s refined innovations together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research — thereby gaining necessary perception into the genesis and of the work. This quantity (Volume II) includes 900 pages, beginning of with 5 introductory chapters and discussing one zero one work. In transparent and available explanatory textual content all diversified work are mentioned, larded with immaculate photographs of every portray. information are proven the place attainable, in addition to the result of modern-day technical imaging.
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Additional info for A Corpus of Rembrandt Paintings II - 1631–1634
268 ) is the smoothing not explicitly mentioned. Numerous other authors are also explicit about the wish to smooth the canvas by filling the fabric or pumicing the ground at some stage of the priming procedure. This is true of Va sari (Berger p. 53), Volpato (M. P. Merrifield, Original treatises on the arts ofpainting, New York 1967, 1st edn. London 1849, II, 729, 731 ), Pacheco (Berger p. 79) and Palomino (Berger p. 82). Not a single source makes mention of the specific surface quality of canvas.
Such groups of canvases cannot be identified on the ground of matching threadcounts alone - there have to be sufficient similarities in other properties of the fabric as well. One characteristic of canvas may be seen as occasional thickenings in the threads. These are, admittedly, not uniform in length, nor do they occur at regular intervals from each other; yet for all the irregularity, they form a pattern that is typical of each fabric, and within one strip of cloth they usually display a certain degree of constancy provided that - as one has to assume - the threads used come from one and the same batch of yarn 47 • This pattern is hard to quantify- the dimension of both the length and the width of the thicken- 46 In all likelihood the situation was quite different with painters from the 19th century.
Figs. 3 and clothing, bedding and the like 24 • An English source speaks of sackcloth or sackencloth, apparently intended for packing goods 25 • Such canvas was not manufactured in urban centres with strict quality control, as was the case with the finer kinds of cloth 26 , but came from rural areas like Twente, the Achterhoek in eastern Gelderland, the countryside of North Holland, and Brabane 7• It was however also imported on a large scale from, for instance, Northwest France, Silesia and Westphalia28 • We know from 18th-century sources that in that period there were cloth factors, merchants who supplied the weavers with orders and with the material they needed 29 ; probably this system already existed in the 17th century as well.
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