By J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D. Cook-Radmore, L. Peese Binkhorst-Hoffscholte
Because the moment half the final century paintings historians, knowing that a dead ringer for Rembrandt’s paintings had develop into blurred with time, have tried to redefine the artist’s importance either as a resource of proposal to different artists and as an exceptional artist in his personal correct. with a purpose to stick with it the paintings began through past generations, a gaggle of best Dutch artwork historians from the college and museum international joined forces within the overdue Nineteen Sixties so that it will learn afresh the work frequently ascribed to the artist. The researchers got here jointly within the Rembrandt study undertaking which was once validated to supply the artwork international with a brand new usual reference paintings which might serve the neighborhood of paintings historians for the within reach and lengthy destiny. They tested the originals of all works attributed to Rembrandt taking complete good thing about today’s refined options together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research — thereby gaining important perception into the genesis and of the work. This quantity (Volume II) includes 900 pages, beginning of with 5 introductory chapters and discussing one zero one work. In transparent and obtainable explanatory textual content all assorted work are mentioned, larded with immaculate photos of every portray. information are proven the place attainable, in addition to the result of modern-day technical imaging.
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Additional resources for A Corpus of Rembrandt Paintings II - 1631–1634
In I 13 instances these take in the whole surface of the painting, while the remainder cover only part of it. The scope of this collection warrants an attempt to answer the questions that have been touched on above; in doing so, other aspects will be looked at that can provide a picture of the practices followed in Rembrandt's workshop where canvases are concerned. The main period considered here is 163 1- 1642. 14 For a history of lining see for instance Westby Percival-Prescott, The lining cycle.
The number of weft threads, with their often more varying thickness, can differ a great deal more within a single roll, especially since the force with which the threads are beaten-up during the weaving process can vary so that they may be packed together more or less closely. When comparing threadcounts, therefore, the count of the warp threads is the more significant figure. It has been noted that in the course of the 17th century painters tended to use canvas of evergreater coarseness. Prescott made a passing reference to this tendency in connexion with Italian, Flemish and Spanish paintings on canvas35 • He explained the phenomenon as due to growing confidence in the adhesion of newly-developed priming materials to the canvas.
278). Only in one, very short description of priming, on p. 95 (edn. Berger p. 268 ) is the smoothing not explicitly mentioned. Numerous other authors are also explicit about the wish to smooth the canvas by filling the fabric or pumicing the ground at some stage of the priming procedure. This is true of Va sari (Berger p. 53), Volpato (M. P. Merrifield, Original treatises on the arts ofpainting, New York 1967, 1st edn. London 1849, II, 729, 731 ), Pacheco (Berger p. 79) and Palomino (Berger p.
A Corpus of Rembrandt Paintings II - 1631–1634 by J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D. Cook-Radmore, L. Peese Binkhorst-Hoffscholte