By Ernst van de Wetering
Volume IV of A Corpus of Rembrandt Paintings offers uniquely with the self-portraits of Rembrandt. In a sincerely written explanatory variety the top of the Rembrandt learn undertaking and Editor of this quantity, Ernst van de Wetering, discusses the whole physique of labor of work and etchings portraying Rembrandt. He units the various parameters for accepting or rejecting a Rembrandt self-portrait as such, when additionally discussing the precise operating setting of Rembrandt and his apprentices. This workshop atmosphere created a atmosphere the place apprentices should 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 aspect to give an explanation for how the several self-portraits are made and what concepts Rembrandt makes use of, additionally giving an outline of which work are to be attributed to the Dutch grasp and which now not.
In the extra catalogue the self-portraits are tested intimately. In transparent and available explanatory textual content the various 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 like X-radiography.
This murals background and artwork examine can be a part of each severe artwork historic institute, collage or museum. Nowhere within the artwork heritage have all Rembrandt’s self photos been mentioned in such special and comparative demeanour through an expert equivalent to Ernst van de Wetering. it is a typical paintings for many years to return.
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Additional resources for A Corpus of Rembrandt Paintings: The Self-Portraits
7) and 177/176 (B. 370) preceding 152/178 (B. 22). 42 See note 16. 43 Chapter III, figs. 171 (B. 363), 175 (B. 372). t? P This categorization has the virtue of bringing a certain order to the material, but to complicate the matter we should add that the etched tronies and some of the unfinished self-portraits were published in rather large editions and were apparently acquired by both contemporary and later art-lovers as real self-portraits because they bore Rembrandt's features. Rembrandt's tendency to leave works unfinished (two of the painted selfportraits also remained unfinishedjt'' and the fact that his works were often characterized by fantastic, historicizing or orientalizing costume must also have contributed to the way in which the unfinished works and tronies bearing Rembrandt's facial features seem to have been quickly regarded as characteristic 'portraits of Rembrandt by himself.
72 Contrary to strong doubts on this point in the past,73 Rembrandt must also have developed his own theory of art. During the discussion of the painted self-portraits in this volume, several aspects of his theory are briefly referred to, particularly by reference to texts of his pupil, Samuel van Hoogstraten. In these texts from Van Hoogstraten's book on the art of painting (see note 58), one finds echoes of his teacher's ideas on the art of painting. Thus, Chapter III of this volume discusses Rembrandt's early application of different styles in relation to different subject matter, an art historical problem also known as the 'modus issue in painting'.
To my knowledge, this is the first att empt to gather and an alyse the archival material pertaining to the issue at han d. Drawing from contemporary sources, I will try to formulate an answer to the qu estion of whether 17th-cen tury buyers and owners of paintings were interested in the actual makers of these works, and if so, whethe r prospective patron s ever stated their wish that a painting not only be by a particular artist, but also tha t it be a fully autograph work. To bring some organisation to the source material, which is quit e diverse in nature, the following categorisation has been chosen.