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Author: Jennifer Scott
Publisher: Philip Wilson Publishers
ISBN: 1781300925
Category : Art
Languages : en
Pages : 160
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Book Description
Rembrandt's Light brings together paintings, etchings and drawings that focus on Rembrandt's mastery of visual storytelling through light, concentrating on the period from 1639-58, when he lived in his 'dream house' on the Breestraat in the heart of Amsterdam (today the Rembrandt House Museum). The rooms on the first floor of the house, with their large windows and exceptional quality of light, offered new possibilities for the creation of art. Arranged thematically the book traces Rembrandt's innovation: from evoking a meditative mood, to lighting people, to creating impact and drama. Highlights include 'The Denial of St Peter', 'Pilgrims at Emmaus' and three of the artist's most famous images of women: 'A Woman Bathing in a Stream', 'A Woman in Bed' and 'Girl at a Window'. Published to coincide with an exhibition at Dulwich Picture Gallery, and the celebrations taking place throughout Europe to mark 350 years since the artist's death (1669), Rembrandt's Light aims to refresh the way we look at works by this incomparable Dutch Master.
Author: Jennifer Scott
Publisher: Philip Wilson Publishers
ISBN: 1781300925
Category : Art
Languages : en
Pages : 160
Get Book Here
Book Description
Rembrandt's Light brings together paintings, etchings and drawings that focus on Rembrandt's mastery of visual storytelling through light, concentrating on the period from 1639-58, when he lived in his 'dream house' on the Breestraat in the heart of Amsterdam (today the Rembrandt House Museum). The rooms on the first floor of the house, with their large windows and exceptional quality of light, offered new possibilities for the creation of art. Arranged thematically the book traces Rembrandt's innovation: from evoking a meditative mood, to lighting people, to creating impact and drama. Highlights include 'The Denial of St Peter', 'Pilgrims at Emmaus' and three of the artist's most famous images of women: 'A Woman Bathing in a Stream', 'A Woman in Bed' and 'Girl at a Window'. Published to coincide with an exhibition at Dulwich Picture Gallery, and the celebrations taking place throughout Europe to mark 350 years since the artist's death (1669), Rembrandt's Light aims to refresh the way we look at works by this incomparable Dutch Master.
Author: Georg Simmel
Publisher: Routledge
ISBN: 0415926696
Category : Art
Languages : en
Pages : 200
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Book Description
First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.
Author: Alan Scott
Publisher: Routledge
ISBN: 1135773831
Category : Social Science
Languages : en
Pages : 200
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Book Description
First published in 1916 in German, this important work has never been translated into English--until now. Simmel attacks such questions as "What do we see in a work of Art?" and "What do Rembrandt's portraits tell us about human nature?" This is a major work by a major thinker concerning one of the world's most important painters.
Author: Charles L. Mee Jr.
Publisher: New Word City
ISBN: 1612307000
Category : Biography & Autobiography
Languages : en
Pages : 257
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Book Description
Until now he has remained a mystery, leaving only a few sentences, the letters of his bankruptcy, a mistress's notarized complaint - and the most glorious, compassionate paintings ever to astonish the eye. The first pure biography of this enigmatic legend is a fascinating detective story in which, clue by clue, the man himself emerges. Charles Mee, historian and playwright, renders a finely textured portrait of the artist against a richly described background of seventeenth-century life. He captures the human Rembrandt, the ordinary man and unexpected genius. We see the youthful, arrogant poseur, son of a small-town miller, seeking a life of art amid the cosmopolitan bustle of Amsterdam. We see the outsider struggling to rise without patron or court commissions, failing as an entrepreneur while immortalizing simple people in works of haunting complexity. We see the inspired moments behind masterworks like The Anatomy Lesson and Nightwatch and all the conflicting guises of their creator - bohemian and aspiring bourgeois, husband and lover, honored genius, penurious vagabond, and finally, the essential dichotomy - the egocentric master who, despite his intense self-absorption, captured the diversity of humanity with extraordinary empathy, sensitivity, and grace.
Author:
Publisher:
ISBN:
Category : Literature
Languages : en
Pages : 734
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Book Description
Author:
Publisher:
ISBN:
Category : Literature
Languages : en
Pages : 744
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Book Description
Author: Edward Jewitt Wheeler
Publisher:
ISBN:
Category : Literature
Languages : en
Pages : 988
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Book Description
Author:
Publisher: Morgan Library & Museum
ISBN: 9780875981765
Category :
Languages : en
Pages : 77
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Book Description
Catalog of an exhibition held at the Morgan Library & Museum, June 3-September 18, 2016.
Author: J. Bruyn
Publisher: Springer Science & Business Media
ISBN: 9400908113
Category : Art
Languages : en
Pages : 815
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Book Description
Since the second half of the last century art historians, realizing that the image of Rembrandt’s work had become blurred with time, have attempted to redefine the artist’s significance both as a source of inspiration to other artists and as a great artist in his own right. In order to carry on the work started by previous generations, a group of leading Dutch art historians from the university and museum world joined forces in the late 1960s in order to study afresh the paintings usually ascribed to the artist. The researchers came together in the Rembrandt Research Project which was established to provide the art world with a new standard reference work which would serve the community of art historians for the nearby and long future. They examined the originals of all works attributed to Rembrandt taking full advantage of today’s sophisticated techniques including radiography, neutron activation autoradiography, dendrochronology and paint sample analysis — thereby gaining valuable insight into the genesis and condition of the paintings. The result of this meticulous research is laid down chronologically in the following Volumes: A Corpus of Rembrandt Paintings, Volume I, which deals with works from Rembrandt’s early years in Leiden(1629-1631), published in 1982. A Corpus of Rembrandt Paintings, Volume II, covering his first years in Amsterdam (1631-1634), published in 1986. THIS VOLUME: A Corpus of Rembrandt Paintings, Volume III, goes into his later years of reputation (1635-1642), published in 1990. Each Volume consists of a number of Introductory Chapters as well as the full Catalogue of all paintings from the given time period attributed to Rembrandt. In this catalogue each painting is discussed and examined in a detailed way, comprising a descriptive, an interpretative and a documentary section. For the authenticity evaluation of the paintings three different categories are used to divide the works in: A. Paintings by Rembrandt, B. Paintings of which Rembrandt’s authorship cannot be positively either accepted or rejected, and C. Paintings of which Rembrandt’s authorship cannot be accepted. This volume (Volume III) contains 820 pages, starting of with three introductory chapters and discussing 86 paintings. In clear and accessible explanatory text all different paintings are discussed, larded with immaculate images of each painting. Details are shown where possible, as well as the results of modern day technical imaging. In this volume important paintings including the Night Watch are discussed.
Author: Ernst van de Wetering
Publisher: Springer Science & Business Media
ISBN: 1402057865
Category : Art
Languages : en
Pages : 689
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Book Description
This volume is the fifth volume of A Corpus of Rembrandt Paintings, a project devoted to all Rembrandt’s paintings. This is the work of ‘The Rembrandt Research Project’, consisting of a group of scholars led since 1993 by Professor Ernst van de Wetering. The project began in 1968 with the aim of separating Rembrandt’s own paintings from the vast number of Rembrandtesque paintings made by his many apprentices and followers. Having opted for a chronological approach to the cataloguing of Rembrandt’s paintings (from 1625 till 1642) in the first three volumes, it was decided in 1993 to adopt a thematic approach for further volumes. This was largely to facilitate the recognition of different hands. The new approach yielded much more information not only about Rembrandt’s working methods but also about the function and meaning of his works. This expanded field of view meant that etchings and drawings with similar themes also needed to be included. In 2005 Volume IV appeared, devoted to Rembrandt’s self-portraits, in painting, etching and drawing. Volume V consists of a catalogue and analysis of the so-called small-scale history and genre paintings. That theme was chosen because this type of complex work shows a variety of full-length protagonists acting in different narrative settings. For this reason, in the 17th century, painting, etching or drawing biblical and mythological scenes was looked upon as an artist’s greatest challenge. The choice of this theme proved to be highly fruitful in several ways. Small-scale history pieces reveal Rembrandt’s artistic ambitions most clearly. They also offer the authors a much more accurate view of the daily routine in Rembrandt’s studio; his apprentices mostly copied this type of work or used it as a starting point for their own. As a result it was easier to distinguish the works by the master himself from those of his pupils. All aspects of the skills necessary to create a pictorial illusion play a part in the creation of small-figured history paintings. These aspects were referred to as ‘the basis of the noble art of painting’ in Rembrandt’s days. Two seventeenth century painter/theoreticians discussed these principles systematically in two books which up till now have only sporadically been consulted in the context of 17th century studio practice. Karel van Mander wrote his Grond der edel vry schilder-const [Basis of the Art of Painting] in 1604 and Samuel van Hoogstraten produced his Inleyding tot de hooge schoole der schilderkonst [Academy of Painting] in 1678. Van Hoogstraten was a pupil of Rembrandt between 1642 and ’48. Comparing the two books and considering them in relation to Rembrandt’s oeuvre, gradually reveals his original views on painting and how these had developed during his career. Thus, the authors of this new Volume of A Corpus have gained an unexpected and profound insight into Rembrandt’s ideas and approach to his art. The ‘basic aspects’ of painting included the following topics: function and methods of drawing; human proportions; various positions, poses and gestures of figures; ways of arranging a scene’s protagonists in a composition; facial expressions of a variety of emotions; light, shadows and reflected light; landscape and animals; draperies and articles of clothing; methods of painting, and various characteristics and uses of colours. The way these ‘basic aspects’ were selected and dealt with presumed that the more practical side to the art of painting would be learned by the apprentice in the daily routine of his master’s studio. With the development of art history in the nineteenth century the ‘basic aspects’ of the art of painting listed above acquired the vague label of ‘style’. However, the seventeenth century categorization of the ‘basic aspects’ provides a much more acute means of probing the views and criteria for judging a painting by Rembrandt and his contemporaries than the concept of ‘style’. Volume V in the series A Corpus of Rembrandt Paintings breaks new ground from the point of view of art history, not only in its approach to Rembrandt as an artist, but more particularly to his thinking about painting. Moreover, a detailed comparison of Rembrandt’s works and those by his apprentices who based their works on his, led to a profound and detailed understanding of Rembrandt’s views on pictorial quality. In art historical literature quality usually does not feature prominently since it is regarded as being too subjective. This comparative approach, together with the analysis of seventeenth century categories of thought about painting, have given the research on Rembrandt a new impetus, at the same time allowing us to see more clearly through seventeenth century eyes. That is why the new volume of the ‘Corpus’ is an important publication – not only for art historians but also for all who want to fully enjoy the numerous works of art that date back to the Dutch Golden Age, now scattered in museums around the world.
