ISBN:
9789401792400
Sprache:
Englisch
Seiten:
Online-Ressource (XII, 736 p. 1332 illus., 1135 illus. in color, online resource)
Serie:
Stichting Foundation Rembrandt Research Project 6
Serie:
SpringerLink
Serie:
Bücher
Paralleltitel:
Druckausg. A corpus of Rembrandt paintings ; 6: Rembrandt's paintings revisited
Schlagwort(e):
Humanities
;
History
;
Arts
;
Humanities / Arts
;
Humanities
;
History
;
Arts
;
Werkverzeichnis
;
Rembrandt Harmensz van Rijn 1606-1669
;
Genremalerei
;
Rembrandt Harmensz van Rijn 1606-1669
;
Historienmalerei
Kurzfassung:
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 i ...
Anmerkung:
Includes bibliographical references and index
DOI:
10.1007/978-94-017-9240-0
URL:
Volltext
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