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Author: David Albert De Witt
Publisher: Lannoo Publishers
ISBN: 9789089896476
Category : Artists as teachers
Languages : en
Pages : 0
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Book Description
Many compositional sketches show Rembrandt's distinctive method for training pupils and his own imagination. Genre and landscape drawings demonstrate how the pupils studied a range of specialist themes and techniques to achieve comprehensive mastery. Finished paintings, some still produced in Rembrandt's studio, reveal their instruction under Rembrandt but also their individual responses to his model. His instructions drew aspiring young painters, such as Nicolaes Maes, Willem Drost, Abraham van Dijck and Jacobus Leveck. They came for the second phase of their training, to become independent masters. They saw Rembrandt as a comprehensive teacher, and not only imitated his virtuoso brush work, but also followed his instruction in a wide range of subject matter, from historical narrative to landscape. AUTHOR: Leonore Van Sloten is a curator at the Rembrandt house Museum, David De Witt is chief curator of the museum, Jaap van der Veen is the research curator. SELLING POINTS: * Discover Rembrandt as a teacher, and the works of his pupils * Published to accompany an exhibition at the Rembrandt House, Amsterdam 50 colour, 30 b/w
Author: David Albert De Witt
Publisher: Lannoo Publishers
ISBN: 9789089896476
Category : Artists as teachers
Languages : en
Pages : 0
Get Book Here
Book Description
Many compositional sketches show Rembrandt's distinctive method for training pupils and his own imagination. Genre and landscape drawings demonstrate how the pupils studied a range of specialist themes and techniques to achieve comprehensive mastery. Finished paintings, some still produced in Rembrandt's studio, reveal their instruction under Rembrandt but also their individual responses to his model. His instructions drew aspiring young painters, such as Nicolaes Maes, Willem Drost, Abraham van Dijck and Jacobus Leveck. They came for the second phase of their training, to become independent masters. They saw Rembrandt as a comprehensive teacher, and not only imitated his virtuoso brush work, but also followed his instruction in a wide range of subject matter, from historical narrative to landscape. AUTHOR: Leonore Van Sloten is a curator at the Rembrandt house Museum, David De Witt is chief curator of the museum, Jaap van der Veen is the research curator. SELLING POINTS: * Discover Rembrandt as a teacher, and the works of his pupils * Published to accompany an exhibition at the Rembrandt House, Amsterdam 50 colour, 30 b/w
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: North Carolina Museum of Art
Publisher:
ISBN:
Category : Painting, Dutch
Languages : en
Pages : 190
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Book Description
Author: Rembrandt Harmenszoon van Rijn
Publisher:
ISBN:
Category :
Languages : en
Pages : 408
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Book Description
Author: John Charles Van Dyke
Publisher:
ISBN:
Category : Drawing, Dutch
Languages : en
Pages : 276
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Book Description
Author: Sir Joshua Reynolds
Publisher: IndyPublish.com
ISBN:
Category : Art
Languages : en
Pages : 200
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Book Description
When the artist is once enabled to express himself with some degree of correctness, he must then endeavour to collect subjects for expression; to amass a stock of ideas, to be combined and varied as occasion may require. He is now in the second period of study, in which his business is to learn all that has hitherto been known and done. Having hitherto received instructions from a particular master, he is now to consider the art itself as his master. He must extend his capacity to more sublime and general instructions.
Author: Jonathan Bikker
Publisher: Yale University Press
ISBN: 0300105819
Category : Art
Languages : en
Pages : 244
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Book Description
"The book draws on extensive research to revise what has been known about Drost's life, his stylistically diverse oeuvre, and his influences. The artist's training and his relationship to Rembrandt and other artists in the Rembrandt circle are examined, as is his Venetian period and the relation of his style to that of German-born painter Johann Carl Loth. Drost emerges as one of Rembrandt's most talented imitators and, despite his very short career, an artist with a variety of faces."--BOOK JACKET.
Author: Ernst van de Wetering
Publisher: Springer Science & Business Media
ISBN: 1402032803
Category : Art
Languages : en
Pages : 724
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Book Description
Volume IV of A Corpus of Rembrandt Paintings deals uniquely with the self-portraits of Rembrandt. In a clearly written explanatory style the head of the Rembrandt Research Project and Editor of this Volume, Ernst van de Wetering, discusses the full body of work of paintings and etchings portraying Rembrandt. He sets the different parameters for accepting or rejecting a Rembrandt self-portrait as such, whilst also discussing the exact working environment of Rembrandt and his apprentices. This workshop setting created a surroundings where apprentices could be involved in working on Rembrandt paintings making it more difficult to determine the hand of the master. Van de Wetering, who is one of the Rembrandt experts of our day and age, goes down to great detail to explain how the different self-portraits are made and what techniques Rembrandt uses, also giving an overview of which paintings are to be attributed to the Dutch Master and which not. In the additional catalogue the self-portraits are examined in detail. In clear and accessible explanatory text the 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 like X-radiography. This work of art history and art research should be part of every serious art historical institute, university or museum. Nowhere in the art history have all Rembrandt’s self portraits been discussed in such detailed and comparative manner by an authority such as Ernst van de Wetering. This is a standard work for decades to come.
Author: Wayne Franits
Publisher: Routledge
ISBN: 1351546228
Category : Art
Languages : en
Pages : 499
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Book Description
Despite the tremendous number of studies produced annually in the field of Dutch art over the last 30 years or so, and the strong contemporary market for works by Dutch masters of the period as well as the public's ongoing fascination with some of its most beloved painters, until now there has been no comprehensive study assessing the state of research in the field. As the first study of its kind, this book is a useful resource for scholars and advanced students of seventeenth-century Dutch art, and also serves as a springboard for further research. Its 19 chapters, divided into three sections and written by a team of internationally renowned art historians, address a wide variety of topics, ranging from those that might be considered "traditional" to others that have only drawn scholarly attention comparatively recently.
Author: Ernst van de Wetering
Publisher: Springer
ISBN: 9401792402
Category : Art
Languages : en
Pages : 739
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Book Description
A revised survey of Rembrandt’s complete painted oeuvre. The question of which 17th-century paintings in Rembrandt’s style were actually painted by Rembrandt himself had already become an issue during his lifetime. It is an issue that is still hotly disputed among art historians today. The problem arose because Rembrandt had numerous pupils who learned the art of painting by imitating their master or by assisting him with his work as a portrait painter. He also left pieces unfinished, to be completed by others. The question is how to determine which works were from Rembrandt’s own hand. Can we, for example, define the criteria of quality that would allow us to distinguish the master’s work from that of his followers? Do we yet have methods of investigation that would deliver objective evidence of authenticity? To what extent do research techniques used in the physical sciences help? Or are we, after all, still dependent on the subjective, expert eye of the connoisseur? The book provides answers to these questions. Prof. Ernst van de Wetering, the author of our forthcoming book which deals with these questions, has been closely involved in all aspects of this research since 1968, the year the renowned Rembrandt Research Project (RRP) was founded. In particular, he played an important role in developing new criteria for authentication. Van de Wetering was also witness to the way the often overly zealous tendency to doubt the authenticity of Rembrandt’s paintings got out of hand. In this book he re-attributes to the master a substantial number of unjustly rejected Rembrandts. He also was closely involved in the (re)discovery of a considerable number of lost or completely unknown works by Rembrandt. The verdicts of earlier specialists – including the majority of members of the original RRP (up to 1989) – were based on connoisseurship: the self-confidence in one’s ability to recognise a specific artist’s style and ‘hand’. Over the years, Van de Wetering has carried out seminal research into 17th-century studio practice and ideas about art current in Rembrandt’s time. In this book he demonstrates the fallibility of traditional connoisseurship, especially in the case of Rembrandt, who was par excellence a searching artist. The methodological implications of this critical view are discussed in an introductory chapter which relates the history of the developments in this turbulent field of research. Van de Wetering’s account of his own involvement in it makes this book a lively and sometimes unexpectedly personal account. The catalogue section presents a chronologically ordered survey of Rembrandt’s entire painted oeuvre of 336 paintings, richly illustrated and annotated. For all the paintings re-attributed in this book, extensive commentaries have been included that provide a multi-facetted new insight into Rembrandt’s world and the world of art-historical research. Rembrandt’s Paintings Revisited is the concluding sixth volume of A Corpus of Rembrandt Paintings (Volumes I-V; 1982, 1986, 1989, 2005, 2010). It can also be read as a revisionary critique of the first three Volumes published by the old RRP team up till 1989 and of Gerson’s influential survey of Rembrandt’s painted oeuvre of 1968/69. At the same time, the book is designed as an independent overview that can be used on the basis that anyone seeking more detailed information will be referred to the five previous (digital versions of the) Volumes and the detailed catalogues published in the meantime by the various museums with collections of Rembrandt paintings. This work of art history and art research should belong in the library of every serious art historical institute, university or museum.
