Overview

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. THIS VOLUME: A Corpus of Rembrandt Paintings, Volume II, covering his first years in Amsterdam (1631-1634), published in 1986. 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 threedifferent 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 II) contains 900 pages, starting of with five introductory chapters and discussing 101 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.

Full Product Details

Author:   J. Bruyn ,  L. Peese Binkhorst-Hoffscholte ,  D. Cook-Radmore ,  B. Haak
Publisher:   Springer
Imprint:   Kluwer Academic Publishers
Edition:   1st ed. 1986. Corr. 3rd printing 2013
Volume:   2
Dimensions:   Width: 24.00cm , Height: 12.40cm , Length: 33.50cm
Weight:   5.890kg
ISBN:  

9789024733392

ISBN 10:   9024733391
Pages:   900
Publication Date:   30 September 1986
Audience:   College/higher education ,  Professional and scholarly ,  Postgraduate, Research & Scholarly ,  Professional & Vocational
Format:   Hardback
Publisher's Status:   Active
Availability:   Awaiting stock  
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Table of Contents

I Stylistic Features of the 1630S: The Portraits (J. B., E. V. D. W.).- II the Canvas Support (E. V. D. W.).- III Problems of Apprenticeship and Studio Collaboration (E. v. D. w.).- IV Patrons and Early Owners (J. B.).- V A Selection of Signatures 1632–1634(J. B.).- Catalogue.- Notes on the Catalogue.- Paintings by Rembrandt.- Paintings Rembrandt’s authorship of which cannot be positively either accepted or rejected.- Paintings Rembrandt’s authorship of which cannot be accepted.- Corrigenda et Addenda to Volume I Chapter II.- A15 Judas, repentant, returning the pieces of silver. England, private collection.- A17 An old man asleep by the fire, perhaps typifying Sloth. Turin, Galleria Sabauda.- A21 Self-portrait. The Hague, Koninklijk Kabinet van Schilderijen, Mauritshuis.- A23 Bust of a young man. Cleveland, Ohio, The Cleveland Museum of Art.- A28 Jeremiah lamenting the destruction of Jerusalem. Amsterdam, Rijksmuseum.- A32 Bust of an old woman. Windsor Castle, H.M. Queen Elizabeth II.- A35 Christ on the cross. Le Mas d’Agenais, Lot et Garonne, parish church.- A40 The artist in oriental costume, with a poodle at his feet. Paris, Musée du Petit Palais.- A40a Bust of an old man. Private collection.- A41 Bust of a young man in a plumed cap. Toledo, Ohio, The Toledo Museum of Art.- B7 Bust of an old man in a cap. The Hague, Koninklijk Kabinet van Schilderijen, Mauritshuis.- C6 The rest on the flight into Egypt. U.S.A., private collection.- C38 Bust of a young man (commonly called a self-portrait of Rembrandt). New York, N.Y., The Metropolitan Museum of Art.- C42 Bust of an old woman. Essen, coll. H. von Bohlen und Halbach.- C44 Bust of a young girl. Helsinki, Sinebrychoff Art Museum, The Fine Arts Academy of Finland.- Tables and Indexes.- Table of TechnicalReference Material.- Table of Dendrochronological Data.- Index of Paintings Catalogued in Volume II.- Present owners.- Previous owners.- Engravers.- Subjects.- Indexes of Comparative Material and Literary Sources.- Drawings and etchings by (or attributed to) Rembrandt.- Works by artists other than Rembrandt.- Literary sources.- Concordance.

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