By J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D. Cook-Radmore, L. Peese Binkhorst-Hoffscholte
Since the second one half the final century paintings historians, figuring out that a dead ringer for Rembrandt’s paintings had turn into blurred with time, have tried to redefine the artist’s importance either as a resource of suggestion to different artists and as a good artist in his personal correct. so as to keep on the paintings begun by means of earlier generations, a gaggle of top Dutch artwork historians from the collage and museum global joined forces within the past due Nineteen Sixties that allows you to research afresh the work frequently ascribed to the artist. The researchers got here jointly within the Rembrandt examine venture which used to be tested to supply the artwork global with a brand new common reference paintings which might serve the group 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 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 examine is laid down chronologically within the following Volumes:
THIS quantity: A Corpus of Rembrandt work, quantity I, which offers with works from Rembrandt’s early years in Leiden(1629-1631), released in 1982.
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 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 approach, comprising a descriptive, an interpretative and a documentary part. For the authenticity review of the work 3 assorted different types are used to divide the works in:
A. work via Rembrandt,
B. work of which Rembrandt’s authorship can't be definitely both authorized or rejected, and
C. work of which Rembrandt’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 available explanatory textual content all various 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 through Rembrandt are mentioned, additionally utilizing his etchings as comparison.
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Extra info for A Corpus of Rembrandt Paintings: 1625–1631
A 7) Fig. 7. Detail of no. A 6, showing ground lying bare - particularly in the forehead and around the eye - and brownish underpaint in the shadow areas of the face being viewed with doubt 22 . The unexpected occurrence of quartz in the ground provided one of the possible criteria for authenticity which still had to be assessed to see what weight it carried. The real question the study was aiming to answer was thus whether there were other Rembrandt paintings in which quartz occurred in the bottom layer.
All these works could be subjected to close examination using the microscope. Two works in Paris, the Balaam in the Musee Cognacq-Jay (no. A 2) and the Supper at Emmaus in the Musee Jacquemart-Andre (no. A 16), were studied afresh - albeit only with a magnifying-glass - in the light of the hypotheses we had developed. These repeated observations yielded further confirmation of the theory we had evolved. Advantage was taken of the naturally limited opportunities for taking samples of paint and preparing cross-sections in order to check our suppositions, though this is not to say that our evidence is based wholly or mainly on these.
Chapter I The Stylistic Development (no. AI) has been chosen as our first entry because in certain illuminated areas one can recognize the manner of painting one knows from somewhat later works, and this together with the signature and inscribed date (1625) makes the work trustworthy as a starting point. In a wide format Rembrandt here makes a strong contrast between a relatively large, broadly painted area in brown shadows and a colourful lit area, in which the plastic suggestion of separate forms predominates over their spatial arrangement.
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