Self-Portraits (A Corpus of Rembrandt Paintings, Volume 4)

Self-Portraits (A Corpus of Rembrandt Paintings, Volume 4)

Ernst van de Wetering

Language: English

Pages: 724

ISBN: 2:00276914

Format: PDF / Kindle (mobi) / ePub

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.

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162 68 the various nations. For which it is also necessary that he knows all the Old Customs and Manners, and Religions [...] and a host of other Picturesque and ancient usages, and is familiar with antique clothing and ornaments: as well as all the Male and Female appurtenances, such as Headveils; Turbans, Belts, Caps, Bonnets, Head-Bands, Hairstyles, Covers, Buskins, Swaddling bands, Foot soles, Laced shoes, Slippers, Purses, Sun shades, Crowns, Forehead ornaments, Arm rings, Pearl strings,

not always clear how long Rembrandt continued to work on certain paintings, hence the value 44 Corpus II, Chapter IV: J Bruyn, 'Patrons and early owners', pp. 91-98; JA. van der Veen, 'Schildcrijencollecties in de Republiek ten tijde van Frcderik Hendrik en Amalia', in: exhib. cat. Vorstelijk Vereameld. De kunstcollectie van Fredenk Hendnk en Amalia, The Hague, Mauritshuis 1997, pp. 87-96; also published in English; JA. van der Veen, three articles in: De Kroniek van het Rembrandihuis 1998 pp.

the conclusion tha t the painter who painted a self-portrait in Rembrandt's day and he was convinced that included R embrandt himself betwee n Montaign e's essays and R embrandt's presum ed self-re flections.i" Sm all, a liter ary historian but othe rwise no Montaigne specialist.i'' base d his view of Rembrandt as a self-portraitist on C ha p man's monograph. Hi s idea , alre ady implied by Chapman , that we are dealing with a 'project' (or a set of projects) bars the way to the alternative

painter unknown), one finds others like 'van een oud meestcr' (by an old master), 'van een Duyts rneester' (by a German master) orother possible places of origin. Examples from Delft are given in Montias, op. cit. 2o, p. 233. 99 GAA, not. P. Mathijsz., ;\fA 483, fols. 563-568, c. 1635. The document is damaged and incomplete. The attributions werc madc by the painters David Colijn and Dirck Pietersz. Bontepaert. 100 This designation is seen very rarely. Worth mentioning in this regard is 'een

'Een weddensehap over een T erburch ', O.H. 69 (1954), pp . 123-124 J an Pietersz. Zom er, gezworen makelaar en J an van Hu ghtenburgh , 'konstschilder' , verklaren op het verzoek van Anthony de Vos, wonend e te Amsterd am, dat op 12 april 170 I tussen de reqt. en Constantinus Francken van An twerpen in het Herenlogemen t 'discours en weddenschap' is ontstaan 'ove r seker stuck schilderij no . I 't welck op de vendi tie van schilde rije n aldaer mede soude werden vercocht, of hetselve origineel

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