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Because the moment half the final century artwork historians, knowing that clone of Rembrandt’s paintings had develop into blurred with time, have tried to redefine the artist’s value either as a resource of idea to different artists and as a very good artist in his personal correct. to be able to keep on the paintings all started by way of earlier generations, a bunch of prime Dutch artwork historians from the college and museum global joined forces within the overdue Sixties with a purpose to examine afresh the work often ascribed to the artist. The researchers got here jointly within the Rembrandt examine venture which used to be demonstrated to supply the paintings international with a brand new commonplace reference paintings which might serve the neighborhood of artwork historians for the within sight and lengthy destiny. They tested the originals of all works attributed to Rembrandt taking complete benefit of today’s refined strategies together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research — thereby gaining precious perception into the genesis and of the work. This quantity (Volume III) includes 820 pages, beginning of with 3 introductory chapters and discussing 86 work. In transparent and obtainable explanatory textual content all diversified work are mentioned, larded with immaculate photographs of every portray. information are proven the place attainable, in addition to the result of modern-day technical imaging. during this quantity very important work together with the evening Watch are mentioned.

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Q8, [9 10, p. Q34; Blankert Bol, p. 77). A paraphrase by Govaert Flinck dated [637 (Von Moltke Flinch, no. 59; Sumowski Cemalde II, no. 6[Q) seems to be based on the grisaille in its enlarged state. See further the comments under no. A 107. This relates to two drawings after Rembrandt's [646 Holy family with the 16 STUDIO PRACTICE AND STUDIO PRODUCTION Fig. 4. Rembrandt workshop (I. Jouderville), copy after Rembrandt's The artist in orientaL costume (no. 2 cm. Whereabouts unknown drawn copies after prints.

48-51. Cf. however what is said below about Bol. ' ... aangaande de maniere van Teikenen, en behandelen, niet soo stipt moet staan om die aile Discipelen, even eens als cen ktmsje of maatwet, op te dringen, maar liever wat onverschillig daarin te zijn, en enige vryheid geven die binnen de wenen der konst blijvende, best met het humeur vanden Discipel overeenstemt'. Goeree op. cit. 7, pp. 32-33. The gratifying thing about this text is that the author comes down for one side in what was evidently a choice.

3. Attr. P. Santvoort, drawing after Rembrandt's Portrait if the artist QJ a burgher (no. 4 cm. Haarlem, Teylers Museum pierce one of Samson's eyes, the contour of the arm of the soldier blinding him that is intersected by it, and Samson's knee, that Rembrandt subsequently revised (probably to improve the three-dimensional clarity of an area that was crucial from the dramatic viewpoint). The fact that drawn (or painted) copies reproduce the original in a state that was later altered by Rembrandt himself provides incontrovertible evidence that they were made in the studio.

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A Corpus of Rembrandt Paintings III - 1635–1642


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