A Corpus of Rembrandt Paintings: II: 1631–1634 by J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D.

By J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D. Cook-Radmore, L. Peese Binkhorst-Hoffscholte

Since the second one 1/2 the final century artwork historians, figuring out that just like Rembrandt’s paintings had turn into blurred with time, have tried to redefine the artist’s value either as a resource of suggestion to different artists and as a superb artist in his personal correct. in an effort to stick with it the paintings begun via past generations, a gaggle of major Dutch paintings historians from the college and museum international joined forces within the overdue Sixties so that it will learn afresh the work often ascribed to the artist. The researchers got here jointly within the Rembrandt examine venture which was once proven to supply the artwork international with a brand new common reference paintings which might serve the group of artwork historians for the within sight and lengthy destiny.

They tested the originals of all works attributed to Rembrandt taking complete good thing about today’s subtle ideas together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research ― thereby gaining invaluable perception into the genesis and situation of the work.

The results of this meticulous examine is laid down chronologically within the following Volumes:

A Corpus of Rembrandt work, quantity I, which offers with works from Rembrandt’s early years in Leiden(1629-1631), released in 1982.

THIS quantity: A Corpus of Rembrandt work, quantity II, overlaying his first years in Amsterdam (1631-1634), released in 1986.

A Corpus of Rembrandt work, quantity III, is going into his later years of attractiveness (1635-1642), released in 1990.

Each quantity includes a few Introductory Chapters in addition to the complete Catalogue of all work from the given period of time attributed to Rembrandt. during this catalogue every one portray is mentioned and tested in a close manner, comprising a descriptive, an interpretative and a documentary part. For the authenticity review of the work 3 varied different types are used to divide the works in:

A. work through Rembrandt,
B. work of which Rembrandt’s authorship can't be absolutely both authorized or rejected, and
C. work of which Rembrandt’s authorship can't be permitted.

This quantity (Volume II) includes 900 pages, beginning of with 5 introductory chapters and discussing a hundred and one work. In transparent and available explanatory textual content all various work are mentioned, larded with immaculate pictures of every portray. information are proven the place attainable, in addition to the result of modern-day technical imaging.

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Schipper-van Lottum (Amsterdam) and Truusje Goedings (Amsterdam). In the very beginning the textile experts Dr]. E. Leene and Mrs R. Bolland did the thread-counts of a great numher of 17th-century canvas weaves. They are thanked together with all others who kindly supplied information. Dr Leene and Mr Bosshard were kind enough to read through the manuscript and offer useful criticism. THE CANVAS SUPPORT Fig. I. Detail ( t : I) X-ray of Belshazzar's Jeast (London, National Gallery) indicating the back of the original canvas as partly covered with a radioabsorbent paint layer.

They are also explicitly menti oned among the members orthe Haarlem Guild ofS. Luke (see H. -Lucasgilde te Ha arlem, Alphen a. d. Rijn 1980, pp. 94, 95 (in 1(31 ), 42 2 (in 1(34), 334 (in 1702 ), 337 ( in 1715). Other craftsmen listed among the creditors of painters may also have provided them with primed canvases , such as 'lij stemakers' (fram e-m akers ) (cf. Vol. I, Introduction, Cha pter II , p. 20, note 28 ) or cabinet-makers; in one inve ntory a cabinet-ma ker is mentioned as having provid ed a painter with pa nels and canvases over several years (Kunstler/rwenta re V , p.

Note (9 ), gives various recipes that all testify to this intention. On pp. 5 and 5 vo (edn. Berger, p. (02) he mentions three times the smoothing of the first ground layer with pumice stone, and illustrates the priming knife, which is slightly curved in order not to cause scratches in the ground layer as the canvas yields to its pressure. On p. 87 (edn. Berger p. 252 ) he again recommends smoothing ('en raclant') first with the priming knife and then ('egualc' ) with pumice stone of the first ground layer.

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