Because the moment half the final century artwork historians, knowing that a twin of Rembrandt’s paintings had turn into blurred with time, have tried to redefine the artist’s importance either as a resource of suggestion to different artists and as a very good artist in his personal correct. on the way to keep it up the paintings begun by way of prior generations, a bunch of prime Dutch artwork historians from the collage and museum international joined forces within the overdue Sixties to be able to examine afresh the work frequently 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 neighborhood 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 suggestions together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research — thereby gaining necessary perception into the genesis and of the work. This quantity (Volume III) includes 820 pages, beginning of with 3 introductory chapters and discussing 86 work. In transparent and obtainable explanatory textual content all assorted 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. during this quantity vital work together with the evening Watch are mentioned.
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Extra resources for A Corpus of Rembrandt Paintings III - 1635–1642
A 29 and A 42), there is remarkably enough no autograph prototype from the years after 1631. Mutually related derivatives do, it is true, sometimes suggest the existence of a common prototype 53 , or the motif depicted shows a 52 The painter and art dealer Lambert Jacobsz. owned at the time of his death in 1636, besides a number of works done after Rembrandt, 'Een outmans troni met een lange bredebaart van M. Rembrant van Rijn selfs' (A tronie of an old man with a long wide beard, by Master Rembrant van Rijn himself).
We have come across a drawn copy of another, in Milan (no. C 57), with an inscription that may be seen as the signature of Dirck Santvoort and with a similar drawing (fig. 3) after Rembrandt's 1632 Portrait of the artist as a burgher in Glasgow (no. A 58) as its companion-piece. Does this make Santvoort a candidate for the painted version in Milan? The mention in 1647 of a 'Tronij na Rembrant van Dirck van Santvoort' alongside a 'Tronij van Rembrant( ... ), in an estate valuation done by none less than Hendrick Uylenburgh49 tempts one to see in Santvoort - who became a master in the Amsterdam guild only in 1636 - one of the young artists trained elsewhere who came to work in Rembrandt's studio, and thus a potential author of rembrandtesque tronies.
53 See, for example, paintings in Kassel, Richmond (Va) and New York, no. C 53 figs. 1, 4 and 5· STUDIO PRACTICE AND STUDIO PRODUCTION Fig. II . 8 cm. , The Fogg Art Museum, Harvard University, Bequest Nettie G. Naumberg Fig. 12. Rembrandt, Bust of an old man, 1631 (B. 6 cm. Amsterdam, Rijksprentenkabinet strong resemblance to an etching by Rembrandt or from his studi0 54 , so that a direct or indirect link with a prototype by Rembrandt himself can be assumed. The latter is the case, for example, with a painting that has in recent times been connected with the names ofJan Lievens and Jacob Backer and thus bids fair to disappear from the discussion of Rembrandt works - the Bust of an old man in Cambridge, Mass.