A Corpus of Rembrandt Paintings I - 1625–1631 by J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D.

A Corpus of Rembrandt Paintings I - 1625–1631 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

Because the moment 1/2 the final century paintings historians, understanding that just like Rembrandta (TM)s paintings had turn into blurred with time, have tried to redefine the artista (TM)s importance either as a resource of suggestion to different artists and as a very good artist in his personal correct. with a view to keep on the paintings all started via past generations, a bunch of best Dutch paintings historians from the college and museum international joined forces within the past due Sixties that allows you to research afresh the work often ascribed to the artist. The researchers got here jointly within the Rembrandt learn undertaking which was once verified to supply the artwork global with a brand new average reference paintings which might serve the group of paintings historians for the within reach and lengthy destiny. They tested the originals of all works attributed to Rembrandt taking complete benefit of todaya (TM)s subtle recommendations together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research a « thereby gaining necessary perception into the genesis and of the work. the results of this meticulous examine is laid down chronologically within the following Volumes: THIS quantity: A Corpus of Rembrandt work, quantity I, which offers with works from Rembrandta (TM)s early years in Leiden(1629-1631), released in 1982. A Corpus of Rembrandt work, quantity II, protecting his first years in Amsterdam (1631-1634), released in 1986. A Corpus of Rembrandt work, quantity III, is going into his later years of popularity (1635-1642), released in 1990. each one quantity contains 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 method, comprising a descriptive, an interpretative and a documentary part. For the authenticity evaluate of the work 3 varied different types are used to divide the works in: A. work via Rembrandt, B. work of which Rembrandta (TM)s authorship can't be definitely both approved or rejected, and C. work of which Rembrandta (TM)s authorship can't be permitted. This quantity (Volume I) comprises 730 pages, beginning of with 4 introductory chapters and discussing ninety three work. In transparent and available explanatory textual content all diverse 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 the 1st ever works by means of Rembrandt are mentioned, additionally utilizing his etchings as comparability.

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A 7), the Tobit and Anna (no. A 3), the Jeremiah (no. A 28), the Old woman reading (no. A37) and the early Self-portrait (no. A 14). All these works could be subjected to close examination using the microscope. Two works in Paris, the Balaam in the Musee Cognacq-Jay (no. A 2) and the Supper at Emmaus in the Musee Jacquemart-Andre (no. A 16), were studied afresh - albeit only with a magnifying-glass - in the light of the hypotheses we had developed. These repeated observations yielded further confirmation of the theory we had evolved.

A 6), the Utrecht Baptism of the eunuch (no. A 5), and in the Amsterdam Rijksmuseum the Musical allegory (no. A 7), the Tobit and Anna (no. A 3), the Jeremiah (no. A 28), the Old woman reading (no. A37) and the early Self-portrait (no. A 14). All these works could be subjected to close examination using the microscope. Two works in Paris, the Balaam in the Musee Cognacq-Jay (no. A 2) and the Supper at Emmaus in the Musee Jacquemart-Andre (no. A 16), were studied afresh - albeit only with a magnifying-glass - in the light of the hypotheses we had developed.

Most consist of a single plank; some have two and others have three members, invariably with butt-joints. The grain of the wood always runs parallel to the length of the panel. The connexion between the number ofmembers and the format is not a regular one, although the smallest panels are always a single plank while the largest usually have three. The majority of the panels are bevelled at the back along all four sides down to a thickness of a few millimetres at the edges, probably to make it possible later to fix the panel into a frame (fig.

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