Art Market and Connoisseurship: A Closer Look at Paintings

The query even if seventeenth-century painters comparable to Rembrandt and Rubens created the work that have been later bought lower than their names, has triggered many a heated debate. a lot remains to be unknown concerning the ways that work have been produced, assessed, priced, and advertised. for instance, did modern connoisseurs count on masters reminiscent of Rembrandt to color their works completely via their very own hand? Who was once credited being able to examine work? How did a painting’s expense relate to its caliber? and the way did connoisseurship swap because the paintings industry grew to become more and more advanced? The members to this crucial quantity hint the evolution of connoisseurship within the booming artwork marketplace of the 17th- and eighteenth centuries. between them are the popular Golden Age students Eric Jan Sluijter, Hans Van Miegroet and Neil De Marchi. it isn't to be neglected by way of someone with an curiosity within the outdated Masters and the early sleek paintings industry.

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178 (entire painting) The Anatomy Lesson of Doctor Tulp [detail] 1633, Royal Cabinet of Paintings The Mauritshuis, The Hague 3. Rembrandt, see colorplate p. 178 (entire painting) Portrait of the Preacher Johannes Uyttenbogaert [detail] 1633, Rijksmuseum, Amsterdam seventeenth-century painters and connoisseurs would have thought about issues of authenticity all the more relevant. Do seventeenth-century sources give us any indication as to what types of pictures to expect? Can we safely assume, for example, that most seventeenth-century master painters created at least a part of their oeuvre entirely by their own hand?

178 (entire painting) Portrait of the Preacher Johannes Uyttenbogaert [detail] 1633, Rijksmuseum, Amsterdam seventeenth-century painters and connoisseurs would have thought about issues of authenticity all the more relevant. Do seventeenth-century sources give us any indication as to what types of pictures to expect? Can we safely assume, for example, that most seventeenth-century master painters created at least a part of their oeuvre entirely by their own hand? And that present-day connoisseurs can thus take an autograph ‘core oeuvre’ as a point of departure for their attributions?

183 (entire painting) Forest Scene [detail of the foliage], c. C. 11. indd 48 12. Meindert Hobbema, see colorplate p. 183 (entire painting) Farm in the Sunlight [detail of the foliage], c. C. ’90 As noted above, the insights as to exactly which elements were ‘telling’ varied somewhat from one author to the next. 91 However, all these characteristics seem to have one common denominator: an inventive and resolute execution. The paradox of seventeenth-century connoisseurship So far, the elements discussed as important are those which show distinctly individual brush marks.

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