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, figuring out that identical to Rembrandt’s paintings had develop 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. in an effort to stick with it the paintings begun through past generations, a bunch of best Dutch paintings historians from the college and museum international joined forces within the past due Sixties to be able to research afresh the work often ascribed to the artist. The researchers got here jointly within the Rembrandt examine undertaking which was once tested to supply the paintings global with a brand new common reference paintings which might serve the neighborhood of artwork historians for the close by and lengthy destiny. They tested the originals of all works attributed to Rembrandt taking complete good thing about today’s subtle options together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research — thereby gaining priceless perception into the genesis and of the work. This quantity (Volume II) comprises 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. info 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
A. Boot, op. cit. (note 23), where an analysis is given of the diary of Aleida Leurink (1682-1]55), daughter of the linen-factor Jan Leurink. Although she was the wife of a minster (in the village of Losser, Twente), she was commissioning weavers and trading canvas on a small scale. 21 V. Schaible, 'Die Gemaldeiibertragung. Studien zur Geschichte einer "klassischen Restauriermethode"', Maltechnik/Restauro 89 (1983), pp. 96- 12 9. 22 The common use made of X-ray negatives can be explained by the fact that areas where white lead has been applied show up light in the radiograph, which makes for easy legibility.
The production of large-size portraits and history pieces, starting in the early Amsterdam years, thus explains the frequency with which Rembrandt used canvases from 1631 onwards. 2 See Volume I, p. XII and cat. exh. Rontgenonderzoek van de oude schilderv'en in het Centraal Museum te Utrecht (by M. E. Houtzager, M. Meier-Siem, H. ]. de Smedt), Utrecht 1967, pp. 6163. * an absence of cusping, that a painting like this had been reduced by later hands on the side or sides in question? Research in the area of fabric supports has been less extensive than the study of panels 3 • There have, of course, long been general notions as to the differences in the kinds of canvas used by various schools4 • Methods of stretching have occasionally been the subject of stud/, but those used in I7thcentury Holland have been looked at hardly at a1l 6 , and there have been only a few, limited attempts at a systematic examination of the types of canvas occurring within the oeuvre of a single artise.
No. 18) is painted on a striped twill canvas (for a reproduction see M. K. Talley, Portrait painting in England: Studies in the technical literature bifore 1700, 1981, fig. 24). 33 Cases where two warp threads are crossed by one weft thread, as one sometimes finds nowadays with painters' canvas, were not found with I 7th- century canvases. 34 Our measurements were carried out with a Leitz thread counter (6 x magnification), each time over 2cm. Depending on the number of available X-rays this was done 6 to more than 20 times in each direction.