A corpus of Rembrandt paintings : Stichting Foundation Rembrandt Research Project / 2 1631-1634

Volume Iv Of A Corpus Of Rembrandt Paintings Deals Uniquely With The Self-portraits Of Rembrandt. In A Clearly Written Explanatory Style The Head Of The Rembrandt Research Project And Editor Of This Volume, Ernst Van De Wetering, Discusses The Full Body Of Work Of Paintings And Etchings Portraying Rembrandt. He Sets The Different Parameters For Accepting Or Rejecting A Rembrandt Self-portrait As Such, Whilst Also Discussing The Exact Working Environment Of Rembrandt And His Apprentices. This Workshop Setting Created A Surroundings Where Apprentices Could Be Involved In Working On Rembrandt Paintings Making It More Difficult To Determine The Hand Of The Master. Van De Wetering, Who Is One Of The Rembrandt Experts Of Our Day And Age, Goes Down To Great Detail To Explain How The Different Self-portraits Are Made And What Techniques Rembrandt Uses, Also Giving An Overview Of Which Paintings Are To Be Attributed To The Dutch Master And Which Not. In The Additional Catalogue The Self-portraits Are Examined In Detail. In Clear And Accessible Explanatory Text The Different Paintings Are Discussed, Larded With Immaculate Images Of Each Painting. Details Are Shown Where Possible, As Well As The Results Of Modern Day Technical Imaging Like X-radiography. This Work Of Art History And Art Research Should Be Part Of Every Serious Art Historical Institute, University Or Museum. Nowhere In The Art History Have All Rembrandt’s Self Portraits Been Discussed In Such Detailed And Comparative Manner By An Authority Such As Ernst Van De Wetering. This Is A Standard Work For Decades To Come. Essays -- By His Own Hand. The Valuation Of Autograph Paintings In The 17th Century -- Rembrandt’s Clothes — Dress And Meaning In His Self-portraits -- Rembrandt’s Self-portraits: Problems Of Authenticity And Function -- Grounds In Rembrandt’s Workshop And In Paintings By His Contemporaries -- Biographical Information 1643–1669 -- Catalogue -- Self-portrait In A Flat Cap -- Self-portrait -- ’self-portrait’ -- ’self-portrait’ -- Self-portrait -- ’self-portrait’ -- Rembrandt Leaning On A Windowsill -- Large Self-portrait -- Self-portrait -- Self-portrait With Sketchbook -- ’self-portrait’ -- ’self-portrait’ -- Small Self-portrait -- Self-portrait -- Self-portrait -- Unfinished Self-portrait -- ’self-portrait’ -- Self-portrait -- Self-portrait At The Easel -- Self-portrait -- ’self-portrait’ -- ’self-portrait’ -- ’self-portrait’ -- Self-portrait As St Paul -- Self-portrait As Zeuxis Laughing -- Self-portrait -- Self-portrait -- Self-portrait -- Self-portrait. By Ernst Wetering. Content: I The Stylistic Development.- II Painting Materials and Working Methods.- III The Documentary Value of Early Graphic Reproductions.- IV A Descriptive Survey of the Signatures.- Biographical Information.- Catalogue.- Paintings by Rembrandt.- A1 The stoning of S. Stephen, 1625. Lyon, Musee des Beaux-Arts.- A2 Balaam and the ass, 1626. Paris, Musee Cognacq-Jay.- A3 Tobit and Anna with the kid, 1626. Amsterdam, Rijksmuseum.- A4 Christ driving the moneychangers from the Temple, 1626. Moscow, Pushkin Museum of Fine Arts.- A5 The baptism of the eunuch, 1626. Utrecht, Rijksmuseum Het Catharijneconvent.- A6 History painting (subject unidentified), 1626. Leiden, Stedelijk Museum de Lakenhal.- A7 Musical allegory, 1626. Amsterdam, Rijksmuseum.- A8 Bust of a man in a gorget and cap, [1626/1627]. Whereabouts unknown.- A9 David with the head of Goliath before Saul, 1627. Basle, Oeffentliche Kunstsammlung Basel.- A10 The rich man from the parable, 1627. Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie.- A11 S. Paul in prison, 1627. Stuttgart, Staatsgalerie.- A12 Simeon in the Temple, [1627/1628]. Hamburg, Hamburger Kunsthalle.- A13 Two old men disputing, probably S. Peter and S. Paul, [1628]. Melbourne, National Gallery of Victoria.- A14 Self-portrait, [1628]. Amsterdam, Rijksmuseum.- A15 Judas, repentant, returning the pieces of silver, 1629. England, private collection.- A16 The supper at Emmaus, [1629]. Paris, Musee Jacquemart-Andre.- A17 An old man asleep by the fire, perhaps typifying Sloth, 1629. Turin, Galleria Sabauda.- A18 The artist in his studio, [1629]. Boston, Mass., Museum of Fine Arts.- A19 Self-portrait, 1629. Munich, Bayerische Staatsgemaldesammlungen, Alte Pinakothek.- A20 Self-portrait, 1629. Boston, Mass., The Isabella Stewart Gardner Museum.- A21 Self-portrait, [1629]. The Hague, Koninklijk Kabinet van Schilderijen, Mauritshuis.- A22 Self-portrait in a cap, with the mouth open, [1629]. Japan, MOA Museum.- A23 Bust of a young man, [1629]. Cleveland, Ohio, The Cleveland Museum of Art.- A24 Samson betrayed by Delilah, [1629/1630]. Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie.- A25 David playing the harp to Saul, [1629/1630]. Frankfurt am Main, Stadelsches Kunstinstitut.- A26 S. Paul at his writing-desk, [1629/1630]. Nuremberg, Germanisches Nationalmuseum.- A27 An old woman at prayer (commonly called Rembrandt's mother), [1629/1630]. Salzburg, Salzburger Landessammlungen-Residenzgalerie.- A28 Jeremiah lamenting the destruction of Jerusalem, 1630. Amsterdam, Rijksmuseum.- A29 Bust of an old man in a fur cap (commonly called Rembrandt's father), 1630. Innsbruck, Tiroler Landesmuseum Ferdinandeum.- A30 The raising of Lazarus, [1630/1631]. Los Angeles, Cal., Los Angeles County Museum of Art.- A31 Andromeda, [1630/1631]. The Hague, Koninklijk Kabinet van Schilderijen, Mauritshuis.- A32 Bust of an old woman (commonly called Rembrandt's mother), [1630/1631]. Windsor Castle, H. M. Queen Elizabeth II.- A33 Self-portrait, [1630/1631]. Liverpool, Walker Art Gallery.- A34 Simeon in the Temple, 1631. The Hague, Koninklijk Kabinet van Schilderijen, Mauritshuis.- A35 Christ on the cross, 1631. Le Mas d'Agenais, Lot et Garonne, parish church.- A36 S. Peter in prison, [1631]. Belgium, private collection.- A37 An old woman reading, probably the prophetess Anna (commonly called Rembrandt's mother), 1631. Amsterdam, Rijksmuseum.- A38 Minerva in her study, [1631]. Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie.- A39 The abduction of Proserpina, [1631]. Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie.- A40 The artist in oriental costume, with a poodle at his feet, 1631. Paris, Musee du Petit Palais.- A41 Bust of a young man in a plumed cap, 1631. Toledo, Ohio, The Toledo Museum of Art.- A42 Half-length figure of an old man in a gorget and black cap, [1631]. Chicago, I11., The Art Institute of Chicago.- Paintings Rembrandt's authorship of which cannot be positively either accepted or rejected.- B1 Three singers (Hearing). The Hague, Cramer Gallery.- B2 The operation (Touch). The Hague, Cramer Gallery.- B3 The spectacles-pedlar (Sight). S. Peter Port, Guernsey, coll. D. H. Cevat.- B4 A man in a gorget and plumed cap. Malibu, Cal., J. Paul Getty Museum.- B5 The artist in a cap and pleated shirt. Stockholm, Nationalmuseum.- B6 Bust of a laughing man in a gorget. The Hague, Koninklijk Kabinet van Schilderijen, Mauritshuis.- B7 Bust of an old man in a cap (commonly called Rembrandt's father). The Hague, Koninklijk Kabinet van Schilderijen, Mauritshuis.- Paintings Rembrandt' s authorship of which cannot be accepted.- C1 Samson betrayed by Delilah. Amsterdam, Rijksmuseum.- C2 Esther's feast. Raleigh, N. C., The North Carolina Museum of Art.- C3 Tobit and Anna. London, The National Gallery.- C4 Tobit at his son's return. New York, N.Y., coll. J. William Middendorf II.- C5 The flight into Egypt. Tours, Museldegalerie.- A11 S. Paul in prison, 1627. Stuttgart, Staatsgalerie.- A12 Simeon in the Temple, [1627/1628]. Hamburg, Hamburger Kunsthalle.- A13 Two old men disputing, probably S. Peter and S. Paul, [1628]. Melbourne, National Gallery of Victoria.- A14 Self-portrait, [1628]. Amsterdam, Rijksmuseum.- A15 Judas, repentant, returning the pieces of silver, 1629. England, private collection.- A16 The supper at Emmaus, [1629]. Paris, Musee Jacquemart-Andre.- A17 An old man asleep by the fire, perhaps typifying Sloth, 1629. Turin, Galleria Sabauda.- A18 The artist in his studio, [1629]. Boston, Mass., Museum of Fine Arts.- A19 Self-portrait, 1629. Munich, Bayerische Staatsgemaldesammlungen, Alte Pinakothek.- A20 Self-portrait, 1629. Boston, Mass., The Isabella Stewart Gardner Museum.- A21 Self-portrait, [1629]. The Hague, Koninklijk Kabinet van Schilderijen, Mauritshuis.- A22 Self-portrait in a cap, with the mouth open, [1629]. Japan, MOA Museum.- A23 Bust of a young man, [1629]. Cleveland, Ohio, The Cleveland Museum of Art.- A24 Samson betrayed by Delilah, [1629/1630]. Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie.- A25 David playing the harp to Saul, [1629/1630]. Frankfurt am Main, Stadelsches Kunstinstitut.- A26 S. Paul at his writing-desk, [1629/1630]. Nuremberg, Germanisches Nationalmuseum.- A27 An old woman at prayer (commonly called Rembrandt's mother), [1629/1630]. Salzburg, Salzburger Landessammlungen-Residenzgalerie.- A28 Jeremiah lamenting the destruction of Jerusalem, 1630. Amsterdam, Rijksmuseum.- A29 Bust of an old man in a fur cap (commonly called Rembrandt's father), 1630. Innsbruck, Tiroler Landesmuseum Ferdinandeum.- A30 The raising of Lazarus, [1630/1631]. Los Angeles, Cal., Los Angeles County Museum of Art.- A31 Andromeda, [1630/1631]. The Hague, Koninklijk Kabinet van Schilderijen, Mauritshuis.- A32 Bust of an old woman (commonly called Rembrandt's mother), [1630/1631]. Windsor Castle, H. M. Queen Elizabeth II.- A33 Self-portrait, [1630/1631]. Liverpool, Walker Art Gallery.- A34 Simeon in the Temple, 1631. The Hague, Koninklijk Kabinet van Schilderijen, Mauritshuis.- A35 Christ on the cross, 1631. Le Mas d'Agenais, Lot et Garonne, parish church.- A36 S. Peter in prison, [1631]. Belgium, private collection.- A37 An old woman reading, probably the prophetess Anna (commonly called Rembrandt's mother), 1631. Amsterdam, Rijksmuseum.- A38 Minerva in her study, [1631]. Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie.- A39 The abduction of Proserpina, [1631]. Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie.- A40 The artist in oriental costume, with a poodle at his feet, 1631. Paris, Musee du Petit Palais.- A41 Bust of a young man in a plumed cap, 1631. Toledo, Ohio, The Toledo Museum of Art.- A42 Half-length figure of an old man in a gorget and black cap, [1631]. Chicago, I11., The Art Institute of Chicago.- Paintings Rembrandt's authorship of which cannot be positively either accepted or rejected.- B1 Three singers (Hearing). The Hague, Cramer Gallery.- B2 The operation (Touch). The Hague, Cramer Gallery.- B3 The spectacles-pedlar (Sight). S. Peter Port, Guernsey, coll. D. H. Cevat.- B4 A man in a gorget and plumed cap. Malibu, Cal., J. Paul Getty Museum.- B5 The artist in a cap and pleated shirt. Stockholm, Nationalmuseum.- B6 Bust of a laughing man in a gorget. The Hague, Koninklijk Kabinet van Schilderijen, Mauritshuis.- B7 Bust of an old man in a cap (commonly called Rembrandt's father). The Hague, Koninklijk Kabinet van Schilderijen, Mauritshuis.- Paintings Rembrandt' s authorship of which cannot be accepted.- C1 Samson betrayed by Delilah. Amsterdam, Rijksmuseum.- C2 Esther's feast. Raleigh, N. C., The North Carolina Museum of Art.- C3 Tobit and Anna. London, The National Gallery.- C4 Tobit at his son's return. New York, N.Y., coll. J. William Middendorf II.- C5 The flight into Egypt. Tours, Musee des Beaux-Arts.- C6 The rest on the flight into Egypt. Formerly Ludlow, Downton Castle, coll. D. Lennox.- C7 The tribute money. Ottawa, The National Gallery of Canada.- C8 Christ at the column. Belgium, private collection.- C9 Minerva in her study. Denver, Col., The Denver Art Museum.- C10 A biblical or historical nocturnal scene (fragment). Tokyo, Bridgestone Museum of Art.- C11 The foot operation. Switzerland, private collection.- C12 Travellers resting. The Hague, Koninklijk Kabinet van Schilderijen, Mauritshuis.- C13 Two old men disputing. The Hague, Cramer Gallery.- C14 A man reading in a lofty room. London, The National Gallery.- C15 A scholar reading. Braunschweig, Herzog Anton Ulrich-Museum.- C16 A hermit reading. Paris, Musee du Louvre.- C17 A Christian scholar in a vaulted room. Stockholm, Nationalmuseum.- C18 A man writing by candlelight. Milwaukee, Wisc., coll. Dr. A. Bader.- C19 An old woman reading. Salisbury, Wilts., Wilton House, coll. Earl of Pembroke.- C20 An old man with his arms crossed over his chest. Boston, Mass., Museum of Fine Arts.- C21 Half-length figure of a man in a turban. Philadelphia, Penn., Philadelphia Museum of Art.- C22 Head of an old man. Milwaukee, Wisc., coll. Dr. A. Bader.- C23 Bust of a man in a plumed cap. USA, private collection.- C24 Bust of an old man with a bald head. Kassel, Staatliche Kunstsammlungen Kassel, Schloss Wilhelmshohe.- C25 Bust of an old man. Leipzig DDR, Museum der bildenden Kunste.- C26 Bust of an old man wearing a cross. Kassel, Staatliche Kunstsammlungen Kassel, Schloss Wilhelmshohe.- C27 Bust of an old man looking downwards. Copenhagen, Statens Museum for Kunst.- C28 Bust of an old man in a gorget and cap (commonly called Rembrandt's father). Leningrad, The Hermitage Museum.- C29 Bust of a man in a cap (commonly called Rembrandt's father). Cambridge, Mass., The Fogg Art Museum.- C30 Bust of a man in a cap (commonly called Rembrandt's father). Kassel, Staatliche Kunstsammlungen Kassel, Schloss Wilhelmshohe.- C31 Bust of a man looking downwards. Oxford, Ashmolean Museum.- C32 Bust of a man wearing a gold chain. Leiden, Stedelijk Museum de Lakenhal.- C33 Bust of a laughing man (commonly called a Self-portrait of Rembrandt). Coll. Baron Edmond de Rothschild.- C34 Bust of a young man laughing. Amsterdam, Rijksmuseum.- C35 Bust of a young man (commonly called a Self-portrait of Rembrandt). Cambridge, Mass., The Fogg Art Museum.- C36 Bust of Rembrandt. Private collection.- C37 Bust of Rembrandt. Private collection.- C38 Bust of a young man (commonly called a Self-portrait of Rembrandt). New York, N.Y., The Metropolitan Museum of Art.- C39 Bust of a young man (commonly called a Self-portrait of Rembrandt). Private collection.- C40 Bust of a young man (commonly called a Self-portrait of Rembrandt). Sweden, private collection.- C41 Bust of an old woman (commonly called Rembrandt's mother). The Hague, Koninklijk Kabinet van Schilderijen, Mauritshuis.- C42 Bust of an old woman (commonly called Rembrandt's mother). Essen, coll. H. von Bohlen und Halbach.- C43 Bust of an old woman (commonly called Rembrandt's mother). Basle, private collection.- C44 Bust of a young girl. Helsinki, Sinebrychoff Art Museum, The Fine Arts Academy of Finland.- Tables and Indexes.- Table of Technical Reference Material.- Table of Dendrochronological Data.- Index of Paintings Catalogued in Volume I.- Present owners.- Previous owners.- Engravers.- Subjects.- Indexes of Comparative Material and Literary Sources.- Drawings and etchings by (or attributed to) Rembrandt.- Works by artists other than Rembrandt.- Literary sources.- Concordance. Since the second half of the last century art historians, realizing that the image of Rembrandt's work had become blurred with time, have attempted to redefine the artist's significance both as a source of inspiration to other artists and as a great artist in his own right. In order to carry on the work started by previous generations, a group of leading Dutch art historians from the university and museum world joined forces in the late 1960s in order to study afresh the paintings usually ascribed to the artist. The researchers came together in the Rembrandt Research Project which was established to provide the art world with a new standard reference work which would serve the community of art historians for the nearby and long future. They examined the originals of all works attributed to Rembrandt taking full advantage of today's sophisticated techniques including radiography, neutron activation autoradiography, dendrochronology and paint sample analysis — thereby gaining valuable insight into the genesis and condition of the paintings. The result of this meticulous research is laid down chronologically in the following Volumes: THIS VOLUME: A Corpus of Rembrandt Paintings, Volume I, which deals with works from Rembrandt's early years in Leiden(1629-1631), published in 1982. A Corpus of Rembrandt Paintings, Volume II, covering his first years in Amsterdam (1631-1634), published in 1986. A Corpus of Rembrandt Paintings, Volume III, goes into his later years of reputation (1635-1642), published in 1990. Each Volume consists of a number of Introductory Chapters as well as the full Catalogue of all paintings from the given time period attributed to Rembrandt. In this catalogue each painting is discussed and examined in a detailed way, comprising a descriptive, an interpretative and a documentary section. For the authenticity evaluation of the paintings threedifferent categories are used to divide the works in: A. Paintings by Rembrandt, B. Paintings of which Rembrandt's authorship cannot be positively either accepted or rejected, and C. Paintings of which Rembrandt's authorship cannot be accepted. This volume (Volume I) contains 730 pages, starting of with four introductory chapters and discussing 93 paintings. In clear and accessible explanatory text all different paintings are discussed, larded with immaculate images of each painting. Details are shown where possible, as well as the results of modern day technical imaging. In this volume the first ever works by Rembrandt are discussed, also using his etchings as comparison. Since the second half of the last century art historians, realizing that the image of Rembrandt's work had become blurred with time, have attempted to redefine the artist's significance both as a source of inspiration to other artists and as a great artist in his own right. In order to carry on the work started by previous generations, a group of leading Dutch art historians from the university and museum world joined forces in the late 1960s in order to study afresh the paintings usually ascribed to the artist. The researchers came together in the Rembrandt Research Project which was established to provide the art world with a new standard reference work which would serve the community of art historians for the nearby and long future. They examined the originals of all works attributed to Rembrandt taking full advantage of today's sophisticated techniques including radiography, neutron activation autoradiography, dendrochronology and paint sample analysis — thereby gaining valuable insight into the genesis and condition of the paintings. The result of this meticulous research is laid down chronologically in the following Volumes: A Corpus of Rembrandt Paintings, Volume I, which deals with works from Rembrandt's early years in Leiden(1629-1631), published in 1982. THIS VOLUME: A Corpus of Rembrandt Paintings, Volume II, covering his first years in Amsterdam (1631-1634), published in 1986. A Corpus of Rembrandt Paintings, Volume III, goes into his later years of reputation (1635-1642), published in 1990. Each Volume consists of a number of Introductory Chapters as well as the full Catalogue of all paintings from the given time period attributed to Rembrandt. In this catalogue each painting is discussed and examined in a detailed way, comprising a descriptive, an interpretative and a documentary section. For the authenticity evaluation of the paintings threedifferent categories are used to divide the works in: A. Paintings by Rembrandt, B. Paintings of which Rembrandt's authorship cannot be positively either accepted or rejected, and C. Paintings of which Rembrandt's authorship cannot be accepted. This volume (Volume II) contains 900 pages, starting of with five introductory chapters and discussing 101 paintings. In clear and accessible explanatory text all different paintings are discussed, larded with immaculate images of each painting. Details are shown where possible, as well as the results of modern day technical imaging. Since the second half of the last century art historians, realizing that the image of Rembrandts work had become blurred with time, have attempted to redefine the artists significance both as a source of inspiration to other artists and as a great artist in his own right. In order to carry on the work started by previous generations, a group of leading Dutch art historians from the university and museum world joined forces in the late 1960s in order to study afresh the paintings usually ascribed to the artist. The researchers came together in the Rembrandt Research Project which was established to provide the art world with a new standard reference work which would serve the community of art historians for the nearby and long future. They examined the originals of all works attributed to Rembrandt taking full advantage of todays sophisticated techniques including radiography, neutron activation autoradiography, dendrochronology and paint sample analysis thereby gaining valuable insight into the genesis and condition of the paintings. The result of this meticulous research is laid down chronologically in the following A Corpus of Rembrandt Paintings, Volume I, which deals with works from Rembrandts early years in Leiden(1629-1631), published in 1982. THIS A Corpus of Rembrandt Paintings, Volume II, covering his first years in Amsterdam (1631-1634), published in 1986. A Corpus of Rembrandt Paintings, Volume III, goes into his later years of reputation (1635-1642), published in 1990. Each Volume consists of a number of Introductory Chapters as well as the full Catalogue of all paintings from the given time period attributed to Rembrandt. In this catalogue each painting is discussed and examined in a detailed way, comprising a descriptive, an interpretative and a documentary section. For the authenticity evaluation of the paintings three different categories are used to divide the works A. Paintings by Rembrandt, B. Paintings of which Rembrandts authorship cannot be positively either accepted or rejected, and C. Paintings of which Rembrandts authorship cannot be accepted. This volume (Volume II) contains 900 pages, starting of with five introductory chapters and discussing 101 paintings. In clear and accessible explanatory text all different paintings are discussed, larded with immaculate images of each painting. Details are shown where possible, as well as the results of modern day technical imaging. 1. 1625-1631 -- 2. 1631-1634 -- 3. 1635-1642 -- 4. The Self-portraits / Ernst Van De Wetering ... [et Al.] -- 5. Small-scale History Paintings / Ernst Van De Wetering ... [et Al.] -- 6. Rembrandt's Paintings Revisited : A Complete Survey / Ernst Van De Wetering ; With Collaboration Of Carin Van Nes ; Translated And Edited By Murray Pearson -- J. Bruyn ... [et Al.] ; With The Collaboration Of L. Peese Binkhorst-hoffscholte ; Translated By D. Cook-radmore ; Stichting Foundation Rembrandt Research Project. Vols. 4-5 Published: Dordrecht, The Netherlands : Springer. Includes Bibliographical References And Indexes.