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 artwork historians, understanding that a dead ringer for Rembrandt’s paintings had turn into blurred with time, have tried to redefine the artist’s value either as a resource of idea to different artists and as an outstanding artist in his personal correct. so as to keep on the paintings began by means of prior generations, a gaggle of prime Dutch paintings historians from the collage and museum global joined forces within the past due Sixties with a view to learn afresh the work often ascribed to the artist. The researchers got here jointly within the Rembrandt study undertaking which was once proven to supply the paintings international with a brand new commonplace reference paintings which might serve the neighborhood of paintings 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 innovations together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research — thereby gaining helpful perception into the genesis and situation of the work. This quantity (Volume II) includes 900 pages, beginning of with 5 introductory chapters and discussing one hundred and one work. In transparent and obtainable explanatory textual content all assorted work are mentioned, larded with immaculate photographs of every portray. info are proven the place attainable, in addition to the result of modern-day technical imaging.
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Extra resources for A Corpus of Rembrandt Paintings II - 1631–1634
802. The technical examination of the X-rays in connexion with the original size of the painting was focussed on the presence and depth of the cusping (personal communication of Mr Hans Boehm). 13 A. B. de Vries, M. T6th-Ubbens and W. Froentjes, op. cit. (note 10), p. 83, express astonishment at the unusually large width of the strip of canvas on which the Anatonry lesson of Dr Tulp was painted. Van Schendel, op. cit. (note I I), pp. 40- 41 states that the width of canvas used for the Claudius Civilis must have measured just over 200 em, the equivalent of 3 ells.
Taking into account the warp direction and the cusping in these three pieces, the canvas of the Cupid comes from the top part of this piece, that of the Lamentation from the bottom left corner and that of the S. John preaching from the righthand edge near the bottom. -, stripwidth (c·107 cm ) seam weaving fault true in the case of the Danae (Br. 474) and the Blinding of Samson (Br. 501) (see table C and figs. 24 and 25 )51. It is striking - and in itself argues for the supposed common origin of the clusters of canvases 5 I The reconstruction of the original size of the Danai!
18. Jahrhunderts , Berlin-Dahlem 1975, p. 338, no. 802. The technical examination of the X-rays in connexion with the original size of the painting was focussed on the presence and depth of the cusping (personal communication of Mr Hans Boehm). 13 A. B. de Vries, M. T6th-Ubbens and W. Froentjes, op. cit. (note 10), p. 83, express astonishment at the unusually large width of the strip of canvas on which the Anatonry lesson of Dr Tulp was painted. Van Schendel, op. cit. (note I I), pp. 40- 41 states that the width of canvas used for the Claudius Civilis must have measured just over 200 em, the equivalent of 3 ells.