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 paintings historians, figuring out that a twin of Rembrandt’s paintings had turn into blurred with time, have tried to redefine the artist’s value either as a resource of concept to different artists and as an exceptional artist in his personal correct. which will keep on the paintings all started by way of past generations, a bunch of prime Dutch artwork historians from the college and museum international joined forces within the overdue Sixties in an effort to learn afresh the work often ascribed to the artist. The researchers got here jointly within the Rembrandt study venture which was once tested to supply the artwork international with a brand new regular reference paintings which might serve the neighborhood of paintings historians for the within sight and lengthy destiny.
They tested the originals of all works attributed to Rembrandt taking complete good thing about today’s refined concepts together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research ― thereby gaining helpful perception into the genesis and situation of the work.
The results of this meticulous study 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, 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 acceptance (1635-1642), released in 1990.
Each quantity comprises a couple of Introductory Chapters in addition to the complete 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 means, comprising a descriptive, an interpretative and a documentary part. For the authenticity assessment of the work 3 diverse 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 approved or rejected, and
C. work of which Rembrandt’s authorship can't be authorised.
This quantity (Volume II) comprises 900 pages, beginning of with 5 introductory chapters and discussing a hundred and one work. In transparent and obtainable explanatory textual content all various 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.
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Extra resources for A Corpus of Rembrandt Paintings: II: 1631–1634
35 Cf. W. Percival-Prescott, op. cit. (note 14), pp. 15-16. 19 THE CANVAS SUPPORT Figs. 5- 6. Detail ( I : I ) of back of original canvas of a late Self-portrait (The Hague, Mauritshuis) illustrating the ground penetrating between the threads (visible as dark shadows at centre) and corresponding detail of X-ray reproduced as a negative the 17th century, and though the number of coarse canvases does increase over the century, there can be no question of even approximately dating a canvas on the ground of its threadcount.
Cit. (note 4), pp. 45. ]. Plesters and L. Lazzarini, 'Preliminary observations on the technique and materials of Tintoretto', Conservation oj paintings and the graphic arts. Preprints of Contributions to The Lisbon Congress 1972, pp. 153-180, esp. 14 155; H. von Sonnenburg, 'Zur Maltechnik Murillos l. Tei/', Maltechnik/Restauro 86 (1980), pp. 159-179, esp. p. 176 note 5. See for instance L. Kuiper, 'Restauratie-verslag van Hendrick ter Brugghen's Aanbidding der Koningen', Bulletin van het Rvksmuseum 19 (197 1), pp.
The paintings in question are the Belshazzar's feast (Br. 497), the Minerva (Br. 469) and the Abraham's sacrifice in the Alte Pinakothek in Munich (inv. no. 438) (fig. 8). When a threadcount that canvases have in common is moreover well outside the average range of densities encountered, there is more certainty that the shared characteristic is significant; this is, for instance, so with the Leningrad Flora (no. A 93) and the Descent from the Cross also in Leningrad (no. C 49), both of which are on a remarkably coarse canvas.