Rembrandt´s Paintings revisited _ a complete survey - pocketboek

Boek bevindt zich in het datenbestand sinds 2016-11-03T18:49:08+01:00 (Amsterdam)
Detailpagina laatst gewijzigd op 2024-03-02T22:32:24+01:00 (Amsterdam)
ISBN/EAN: 9789402410273

ISBN - alternatieve schrijfwijzen:
94-024-1027-9, 978-94-024-1027-3
alternatieve schrijfwijzen en verwante zoekwoorden:
Auteur van het boek: van wetering, van nes, ernst ber, rembrandt, gerson, ernst museum, hand ernst, digital studio, field
Titel van het boek: corpus rembrandt paintings, rembrandt buch, rem, painting painting, painti, paint, rembrandts, corpus und, rembrand, research, rembrandt 1606 1669, rembrandt paintings revisited complete survey

Gegevens van de uitgever

Auteur: Ernst van de Wetering
Titel: Rembrandt Research Project Foundation; Rembrandt’s Paintings Revisited - A Complete Survey - A Reprint of A Corpus of Rembrandt Paintings VI
Uitgeverij: Springer; Springer Netherland
690 Bladzijden
Verschijningsjaar: 2017-03-03
Dordrecht; NL
Taal: Engels
139,09 € (DE)
142,99 € (AT)
153,50 CHF (CH)
Not available, publisher indicates OP
X, 690 p. 1332 illus., 1135 illus. in color.

BC; Fine Arts; Hardcover, Softcover / Kunst/Bildende Kunst; Kunstformen; Verstehen; 17th-century paintings; Ability to recognize an artist's hand; Ability to recognize an artist's style; Art research; Connoisseurship; Criteria for authentification; Evidence of authenticity; Fallibility of connoisseurship; Foundation Rembrandt Research Project; RRP; Rejected Rembrandts; Rembrandt; Rembrandt Research Project; Rembrandt's followers; Rembrandt's hand; Rembrandt's painted oeuvre; Rembrandt's style; Traditional connoisseurship; Humanities and Social Sciences, multidisciplinary; Popular Science in Humanities / Arts; Cultural Heritage; Fine Art; Humanities and Social Sciences; Arts; Cultural Heritage; Interdisziplinäre Studien; Kunst: allgemeine Themen; Kulturwissenschaften; Museums- und Denkmalkunde; Auseinandersetzen; EA

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 present 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 a reprint of 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.       

Foreword and Acknowledgements.- 1. What is a Rembrandt? A Personal Account.- 2. What is a Non-Rembrandt?-  3. Catalogue.- Plates and Biographical Remarks.- Notes to the Plates.- Tables and Indices.   

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 present 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 a reprint of 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.       

This slightly updated reprint of the concluding sixth volume of A Corpus of Rembrandt Paintings presents a revised, chronologically ordered survey of Rembrandt’s entire oeuvre of 336 paintings

A considerable number of these paintings are reattributed to Rembrandt by the author after they were rejected by connoisseurs in the 1960s and subsequently

The book includes extensive commentaries on the re-attributed works and many of Rembrandt’s other paintings

Provides a multi-facetted new insight into Rembrandt’s world and in the fields of Rembrandt connoisseurship and research

Contains 430 color plates (including 77 enlarged details) and c. 750 additional illustrations, and figures mostly in color

This work of art history and art research belongs in the library of every serious art historical institute, university or museum