By Ernst van de Wetering
Quantity IV of A Corpus of Rembrandt work offers uniquely with the self-portraits of Rembrandt. In a essentially written explanatory variety the top of the Rembrandt examine venture and Editor of this quantity, Ernst van de Wetering, discusses the whole physique of labor of work and etchings portraying Rembrandt. He units different parameters for accepting or rejecting a Rembrandt self-portrait as such, while additionally discussing the precise operating setting of Rembrandt and his apprentices. This workshop surroundings created a atmosphere the place apprentices may be all in favour of engaged on Rembrandt work making it more challenging to figure out the hand of the grasp. Van de Wetering, who's one of many Rembrandt specialists of our day and age, is going all the way down to nice element to give an explanation for how the several self-portraits are made and what suggestions Rembrandt makes use of, additionally giving an summary of which work are to be attributed to the Dutch grasp and which not.
In the extra catalogue the self-portraits are tested intimately. In transparent and obtainable explanatory textual content the various work are mentioned, larded with immaculate photos of every portray. info are proven the place attainable, in addition to the result of modern-day technical imaging like X-radiography.
This murals background and artwork examine may be a part of each critical paintings old institute, collage or museum. Nowhere within the paintings background have all Rembrandt’s self snap shots been mentioned in such distinctive and comparative demeanour by way of an expert reminiscent of Ernst van de Wetering. this can be a general paintings for many years to return.
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Additional info for Self-Portraits (A Corpus of Rembrandt Paintings, Volume 4)
Rembrandt: The grasp and his workshop (Paintings), Berlin/Amsterdam/London 1991-92, 1'1'. 12-39; E. van de Wetering 01" cit. 25, Pl'. 155-169. 36 Corpus II, Pl'. 45-46, see notice 2: okay. Bauch (Rembrandt Gemdlde, Berlin 1966, Pl" 47-49) instructed an attribution to Flinck in 3 circumstances and in a single thought of an attribution to J. A. Backer. In his revised version of A. Bredius, Rembrandt, London 1935/1969, H. Gerson mentions G. Flinck because the (possible) writer of twelve work; E. van de Wetering, 'Isaac Jouderv~lle, a student of Rembrandt' in: exhib. cat. 17ze impression of a genius; Rembrandt, his students and folloioers within the 17th century, Amsterdam/ 38 39 forty forty-one forty two forty three XV Groningen 1983, Pl'. 59-69; E. van de Wetering 01" cit. 25, Pl" 47-72; M. Franken, "'Aen stoelen en bancken ! eren gaen". Leerzame vormen van navolging in Rembrandts werkplaats', in: P. van den verge of collapse en L. Helmus, Album Discipulorum ]. R. ]. van Asperen de Boer, Zwolle 1997, Pl' 66-73; the coming near near Corpus V, bankruptcy II: M. Franken, 'Variants in the portray construction in Rembrandt's workshop'. Corpus II, Pl" 48-51; E. van de Wetering, The query of authenticity: an anachronism? (A Summary)', in: Rembrandt and his students, Nationalmusei Skriftserie n. s. thirteen, Stockholm 1993, Pl" 9-13. additionally released in Kanstlerischer Austausch / creative alternate, Akten des 28. Internationa! en Kongresses fur Kunstgeschichte Berlin 15. -20. July 1992 (ed. Th. W. Gaehtgens) 1993, Vol. II, Pl'. 627-630; within the current quantity, bankruptcy I: J. A. van der Veen, 'By his personal hand. The valuation of autograph work within the 17th century'. M. de Winkel, "'Eene der deftigsten dragten", The iconography of the tabbaard and the sensc of culture in Dutch seventeenth-century portraiture', Nederlands Kunsthistorisch ]aarboek forty six (1995), Pl" 145-166; M. de Winkel, "'Eene onbedenkelyke verandering van dragten, en vremdc toestellingen omtrent de bekleedingen... ". Het kostuum in het werk van Arent de Gelder' in: exhib. cat. Arent de Gelder, Rembrandts laatste Ieerling, Dordrecht, Dordrechts Museum / Cologne, Wallraf-Richartz-Museum 1998, Pl" 87-98; M. de Winkel, 'Costume in Rembrandts self-portraits' in: exhib. cat. Rembrandt through himself, London, nationwide Gallery/The Hague, Mauritshuis 1999/2000, Pl" 58-74;:'1. de Winkel, type and Fancy: gown andMeaning in Rembrandt's work, Amsterdam 2005. E. van de \Vetering, 'Remarks on Rembrandt's oil-sketches for etchings', in: exhib. cat. Rembrandt the Printmaker, Amsterdam, Rijksmuseum/ London, The British Museum 2000, Pl" 36·63. J. A. van der Veen, 'Faces from existence: Tronies and images in Rembrandt's painted oeuvre', in: exhib. cat. Rembrandt: A genius and his effect, A. Blankert (ed. ), Melbourne, nationwide Gallery of Victoria/Canberra, nationwide Gallery of Australia 1997/98, Pl" 69-81; N. van Eck, ]ongemannen-Tronies, master's thesis college of Amsterdam 2000; contributed to the symposium "Ironies' in de Italiaanse, Vlaamse enNederlandse schilderkunst van de 1 (li' en 17de eeuw, The Hague, 19/20 October 2000.