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 paintings historians, knowing that identical to Rembrandta (TM)s paintings had develop into blurred with time, have tried to redefine the artista (TM)s value either as a resource of suggestion to different artists and as a good artist in his personal correct. with a purpose to stick with it the paintings begun by means of earlier generations, a gaggle of prime Dutch paintings historians from the college and museum international joined forces within the overdue Sixties so as to examine afresh the work often ascribed to the artist. The researchers got here jointly within the Rembrandt study undertaking which was once tested to supply the paintings global with a brand new average reference paintings which might serve the group of paintings historians for the close by and lengthy destiny. They tested the originals of all works attributed to Rembrandt taking complete good thing about todaya (TM)s subtle concepts together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research a « thereby gaining useful perception into the genesis and of the work. the results of this meticulous study is laid down chronologically within the following Volumes: THIS quantity: A Corpus of Rembrandt work, quantity I, which offers with works from Rembrandta (TM)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 popularity (1635-1642), released in 1990. every one quantity includes a few Introductory Chapters in addition to the whole 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 means, comprising a descriptive, an interpretative and a documentary part. For the authenticity evaluate of the work 3 diverse different types are used to divide the works in: A. work via Rembrandt, B. work of which Rembrandta (TM)s authorship can't be certainly both approved or rejected, and C. work of which Rembrandta (TM)s authorship can't be authorized. This quantity (Volume I) comprises 730 pages, beginning of with 4 introductory chapters and discussing ninety three work. In transparent and obtainable explanatory textual content all diverse work are mentioned, larded with immaculate pictures of every portray. information 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 comparability.

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The larger standard sizes one recognizes in Rembrandt's Leiden panels bear a relatively simple relationship to the Rhineland foot 15 . Panels used by him that can be placed in the same group quite often show a varying composition of one, two or three planks, indicating that a deliberate attempt had been made to achieve precisely this standard set of dimensions 16 . There is, in short, every reason to believe that Rembrandt kept to standard sizes when buying panels. Because of the remarkable resemblance in both size and composition of certain panels that were evidently manufactured in one and the same 12 See J.

X ... 9 cm 40. 6 x ... cm ... x .. 8 cm C 18 Man writing by candlelight, Milwaukee, colI. A. Bader (copper; acc. to information from c. 2 cm At first, conditioned by the attempts seen in the art history field to reconstruct altar-pieces and pairs of pendants, one tries to explain this uniformity by assuming a particular functional or iconographical relationship between the paintings in a given format-group. The fact that in certain cases the panels are identical not only in their format but in their composition as well (in respect of the number and width of the component members) encourages such attempts at reconstruction with Rembrandt's works.

Peter in prison (no. 8 cm, single plank. 'series'17, it is probable that Rembrandt bought several panels at a time. This supposi tion is further borne out by the appearance of whole lots ofidentical panels in some painters' inventories 18 ; and the discovery by Prof. Dr. J. Bauch that in a number of cases two or more panels used by Rembrandt came from the same treetrunk is evidence for the correctness of this assumption 19 . The ground In his study of the grounds on Rembrandt's panels and canvases - a study in which samples of the ground were taken for analysis from 75 pain tings attributed to Rembrandt, from all periods - Kuhn finally arrived at four main types: chalk, white lead, ochre and quartz grounds 20 .

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A Corpus of Rembrandt Paintings I - 1625–1631 by J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D. Cook-Radmore, L. Peese Binkhorst-Hoffscholte


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