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Author: Thea Vignau-Wilberg
Publisher:
ISBN:
Category : Drawing, Dutch
Languages : en
Pages : 192
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Book Description
Author: Thea Vignau-Wilberg
Publisher:
ISBN:
Category : Drawing, Dutch
Languages : en
Pages : 192
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Book Description
Author: Rembrandt Harmenszoon van Rijn
Publisher: Getty Publications
ISBN: 0892369787
Category : Art
Languages : en
Pages : 292
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Book Description
"Rembrandt was the most famous painter of the Dutch Golden Age, and the opportunity to work in his studio attracted young artists for nearly four decades, until the artist's death in 1669. This catalogue explores the workings of Rembrandt's studio in the form of drawings made by the master himself and fifteen of his pupils. Rembrandt and his students would often depict the same subject matter as an exercise and make drawings of the same nude models. In his later years, Rembrandt also made sketching trips outside Amsterdam to create his innovative landscapes of the Dutch countryside. His students followed this example, sometimes depicting the same sites." "Organized chronologically, Drawings by Rembrandt and His Pupils: Telling the Difference is a groundbreaking study that presents more than forty works by Rembrandt and related works by his pupils. It explores the scholarship of recent decades that has brought new and more systematic criteria to bear on determining the authenticity of Rembrandt drawings, and defines the styles of his pupils and followers with ever-greater precision. In so doing, this volume demystifies the sometimes-baffling exercise known as connoisseurship and seeks to re-enact the daily practices that Rembrandt used to teach his students and bring them to artistic maturity." "This is an essential book for anyone interested in the Dutch Golden Age or the lives and careers of Rembrandt and the artists in his immediate circle. A major exhibition of these drawings will be on view at the J. Paul Getty Museum from December 8, 2009, to February 28, 2010." --Book Jacket.
Author: Staatliche Graphische Sammlung München
Publisher: Hirmer Verlag GmbH
ISBN: 9783777451718
Category : Drawing
Languages : en
Pages : 0
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Book Description
The Staatliche Graphische Sammlung in Munich houses one of the finest and most famous collections of drawings and prints in Germany, with holdings of around 400,000 works ranging from the fifteenth century to modernity. Published to accompany an exhibition at the Morgan Library and Museum in New York, 100 Master Drawings from Munich comprises lush full-color illustrations of over one hundred of the museum's works of art. Demonstrating the impressive depth and breadth of works owned by the Staatliche Graphische Sammlung, the works in this volume range from rough preparatory sketches to meticulously executed studies and encompass a variety of media, including silverpoint, chalk, ink, and aquarelle. Among the many extraordinary pieces are Old Dutch and German prints, nineteenth-century German drawings, and works by Dürer and Rembrandt. But equally not to be missed are the many compelling works of contemporary graphic art for which the museum is best known.
Author: Rembrandt Harmenszoon van Rijn
Publisher: Courier Corporation
ISBN: 0486461491
Category : Art
Languages : en
Pages : 130
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Book Description
This deluxe hardcover edition features drawings by the Dutch master from the collections of more than 20 European and American museums. Beautifully produced in a generous format on high-quality paper, this volume spans the artist's prolific career and includes superb examples of landscapes, biblical vignettes, figure studies, animal sketches, and portraits.
Author: Seymour Slive
Publisher: Getty Publications
ISBN: 1606066366
Category : Art
Languages : en
Pages : 133
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Book Description
“Seymour Slive, who should be considered the dean of scholars of 17th-century Dutch art, brings a lifetime of study and erudition to Rembrandt Drawings. . . . You would have to go a long way to find a better guide than Mr. Slive.”—Wall Street Journal Written by renowned Rembrandt scholar Seymour Slive, this gorgeous volume explores the artist’s extraordinary achievements as a draftsman by examining more than 150 of his drawings. Reproduced in color, these works are accompanied by etchings and paintings by Rembrandt and others, including Leonardo and Raphael. Unlike other publications of Rembrandt’s drawings, here they are arranged thematically, which makes his genius abundantly clear. Individual chapters focus on self-portraits, portraits of family members and friends, the lives of women and children, nudes, copies, model and study sheets, animals, landscapes and buildings, religious and mythological subjects, historical subjects, and genre scenes. Slive discusses possible doubtful attributions, which account for the considerable reduction from earlier times in the number of drawings now ascribed to the master.
Author: Christopher White
Publisher:
ISBN:
Category : Artists
Languages : en
Pages : 66
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Book Description
Author: Walther Scheidig
Publisher:
ISBN:
Category : Art, Rembrandt
Languages : en
Pages : 288
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Book Description
Author: Simon McNamara
Publisher: Cambridge Scholars Publishing
ISBN: 144387776X
Category : Art
Languages : en
Pages : 230
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Book Description
Rembrandt’s Passion Series is the name given to five paintings of similar size and format executed over a six year time-frame, 1633–39. The works were commissioned by Frederick Hendrick, Prince of Orange and Stadtholder of the United Provinces, for his gallery at The Hague. Although each of the paintings depicts a traditional scene from the Passion of Christ, they do not form anything like a complete Passion Cycle. Seven years later, Hendrick ordered a further two works of the same size and format of subjects from the Nativity of Christ. Six of the seven paintings now hang in the Alte Pinakothek, Munich. As the works were executed between Rembrandt’s well-documented early Leiden period and his rapid rise to prominence as a portraitist in Amsterdam, the works have not attracted the scholarly attention they might, although the commission was undoubtedly the most prestigious of the young Rembrandt’s career. Rembrandt’s Passion Series is the first monograph to focus solely on this important group of paintings by the most famous artist of the Dutch Golden Age. In it, Simon McNamara traces the history of the commission by way of extant documentation, places the works in a seventeenth-century Dutch religious milieu, and shows how the series is both reflective of contemporary theological exegesis and embedded in theoretical artistic debates of the age. The book also highlights the extraordinary nature of the self-images seen in three of the paintings and discusses the legacy of the series in later graphic works by Rembrandt and in paintings by his pupils. In doing so, Rembrandt’s Passion Series presents a series of unifying factors, both stylistically and thematically, for the works that allows the Passion Series to be properly, and finally, called a “series”.
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.
