Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Rembrandt's Late Pupils
Many compositional sketches show Rembrandt's distinctive method for training pupils and his own imagination. Genre and landscape drawings demonstrate how the pupils studied a range of specialist themes and techniques to achieve comprehensive mastery. Finished paintings, some still produced in Rembrandt's studio, reveal their instruction under Rembrandt but also their individual responses to his model. His instructions drew aspiring young painters, such as Nicolaes Maes, Willem Drost, Abraham van Dijck and Jacobus Leveck. They came for the second phase of their training, to become independent masters. They saw Rembrandt as a comprehensive teacher, and not only imitated his virtuoso brush work, but also followed his instruction in a wide range of subject matter, from historical narrative to landscape. AUTHOR: Leonore Van Sloten is a curator at the Rembrandt house Museum, David De Witt is chief curator of the museum, Jaap van der Veen is the research curator. SELLING POINTS: * Discover Rembrandt as a teacher, and the works of his pupils * Published to accompany an exhibition at the Rembrandt House, Amsterdam 50 colour, 30 b/w
Ferdinand Bol
None
Drawing in Rembrandt's day : masterpieces from the Hamburger Kunsthalle
The Rembrandt House Museum in Amsterdam is exhibiting more than a hundred drawings by seventeenth-century Netherlandish artists from the collection of the Hamburger Kunsthalle. They include exceptional sheets by Rembrandt as well as masterpieces by many of his predecessors and contemporaries. It will be the first time that most of the drawings return to the city-and in some cases to the very house - where they were made. The exhibition offers a unique opportunity to admire the magnificent and extremely fragile works on paper before they are stored away again for a long time. Some of the drawings in the exhibition have a special relationship to Rembrandt's graphic oeuvre. Rembrandt van Rijn (1606-1669) was an etcher as well as a painter and draughtsman. Remarkably few of his drawn preliminary studies have survived, but the Hamburger Kunsthalle has two of them: the preparatory drawings for the print of 'St Jerome Reading in a Landscape' and 'Christ in the Garden of Gethsemane'. Exhibition: Rembrandthuis, Amsterdam, The Netherlands (21.1.-22.5.2012).
Old Drawings, New Names
The attribution of a work of art is a fascinating aspect of art-historical study. How do you recognize a 'genuine Rembrandt' and what distinguishes his work from that of his pupils and contemporaries? This exhibition of sixty drawings at the Rembrandt House Museum focuses solely on the criteria that a prominent art historian employs when making an attribution. The works include drawings by Rembrandt and by his pupils and contemporaries. What all these works have in common is that they have been attributed to seventeenth-century artists by Peter Schatborn. For more than thirty years he worked in Rijksmuseum's department of prints and drawings, initially as a member of staff and later as its head. Over the course of his career he became one of the world's leading specialists in Rembrandt's drawings. The exhibition addresses the problem of attributing seventeenth-century Netherlandish drawings. Exhibition: The Rembrandt House, Amsterdam, the Netherlands (01.02.-27.04.2014).
Samuel van Hoogstraten's Introduction to the Academy of Painting; or, The Visible World
A unique seventeenth-century account of painting as it was practiced, taught, and discussed during a period of extraordinary artistic and intellectual ferment in the Netherlands. The only comprehensive work on painting written by a Dutch artist in the later seventeenth century, Samuel van Hoogstraten’s Inleyding tot de hooge schoole der schilderkonst, anders de zichtbaere werelt (Introduction to the Academy of Painting; or, The Visible World, 1678) has long served as a source of valuable insights on a range of topics, from firsthand reports of training in Rembrandt’s studio to contemporary engagements with perspective, optics, experimental philosophy, the economics of art, and more. Van ...
Traces of Vermeer
Johannes Vermeer's luminous paintings are loved and admired around the world, yet we do not understand how they were made. We see sunlit spaces; the glimmer of satin, silver, and linen; we see the softness of a hand on a lute string or letter. We recognize the distilled impression of a moment of time; and we feel it to be real. We might hope for some answers from the experts, but they are confounded too. Even with the modern technology available, they do not know why there is no evidence of any preliminary drawing; why there are shifts in focus; and why his pictures are unusually blurred. Some wonder if he might possibly have used a camera obscura to capture what he saw before him. The few t...
