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A revised survey of Rembrandt's complete painted oeuvre.
The question of which 17th-century paintings in Rembrandt's style were actually painted by Rembrandt himself had already become an issue during his lifetime. It is an issue that is still hotly disputed among art historians today.
The problem arose because Rembrandt had numerous pupils who learned the art of painting by imitating their master or by assisting him with his work as a portrait painter. He also left pieces unfinished, to be completed by others.
The question is how to determine which works were from Rembrandt's own hand. Can we, for example, define the criteria of quality that would allow us to distinguish the master's work from that of his followers? Do we yet have methods of investigation that would deliver objective evidence of authenticity? To what extent do research techniques used in the physical sciences help? Or are we, after all, still dependent on the subjective, expert eye of the connoisseur? The book provides answers to these questions.
Prof. Ernst van de Wetering, the author of our forthcoming book which deals with these questions, has been closely involved in all aspects of this research since 1968, the year the renowned Rembrandt Research Project (RRP) was founded. In particular, he played an important role in developing new criteria for authentication. Van de Wetering was also witness to the way the often overly zealous tendency to doubt the authenticity of Rembrandt's paintings got out of hand. In this book he re-attributes to the master a substantial number of unjustly rejected Rembrandts. He also was closely involved in the (re)discovery of a considerable number of lost or completely unknown works by Rembrandt.
The verdicts of earlier specialists - including the majority of members of the original RRP (up to 1989) - were based on connoisseurship: the self-confidence in one's ability to recognise a specific artist's style and 'hand'. Over the years, Van de Wetering has carried out seminal research into 17th-century studio practice and ideas about art current in Rembrandt's time. In this book he demonstrates the fallibility of traditional connoisseurship, especially in the case of Rembrandt, who was par excellence a searching artist.
The methodological implications of this critical view are discussed in an introductory chapter which relates the history of the developments in this turbulent field of research. Van de Wetering's account of his own involvement in it makes this book a lively and sometimes unexpectedly personal account.
The catalogue section presents a chronologically ordered survey of Rembrandt's entire painted oeuvre of 336 paintings, richly illustrated and annotated. For all the paintings re-attributed in this book, extensive commentaries have been included that provide a multi-facetted new insight into Rembrandt's world and the world of art-historical research.
Rembrandt's Paintings Revisited is the concluding sixth volume of A Corpus of Rembrandt Paintings (Volumes I-V; 1982, 1986, 1989, 2005, 2010). It can also be read as a revisionary critique of the first three Volumes published by the old RRP team up till 1989 and of Gerson's influential survey of Rembrandt's painted oeuvre of 1968/69. At the same time, the book is designed as an independent overview that can be used on the basis that anyone seeking more detailed information will be referred to the five previous (digital versions of the) Volumes and the detailed catalogues published in the meantime by the various museums with collections of Rembrandt paintings.
This work of art history and art research should belong in the library of every serious art historical institute, university or museum.
Follow-up to The Devil's Serum. In the astonishing finale of the Alexis Beaureparie series, Moses, Armond and Lisette once again come face to face with the alluring, sinister Alexis Beaureparie and her evil plans to have them finished once and for all. With the help of her murderous lover, will she succeed in killing the detective or will she be undone?
The subject of this book is the so-called London Qazv?n?, an early 14th-century illustrated Arabic copy of al-Qazv?n?'s The Wonders of Creation and the Oddities of Existing Things, which was acquired by the British Library in 1983 (Or. 14140). As is commonly the case for copies of this text, the London Qazv?n? is lavishly illustrated, with 368 extant paintings out of the estimated original ca. 520.
Its large format, ambitious illustrative cycle and the fine quality of many of the illustrations suggest that the atelier where it was produced must have been well-established and able to attract craftsmen from different parts of the Ilkhanid area. It also suggests that its patron was wealthy and curious about scientific, encyclopedic and caj?'ib literature, and keen to experiment with the illustration of new texts like this work, which had been composed by the author only two or three decades earlier. The only centre that was capable of gathering such artistic influences ranging from Anatolia to Mesopotamia appears to have been Mosul.
The London Qazv?n? is an important newly surfaced document for the study of early illustrated Arabic copies of this text, representing the second earliest known surviving manuscript, as well as for the study of Ilkhanid painting. In a single and unique manuscript are gathered earlier Mesopotamian painting traditions, North Jaziran-Seljuq elements, Anatolian inspirations, the latest changes brought about after the advent of the Mongols, and a number of illustrations of extraordinary subjects which escape a proper classification.
This book is the result of a long friendship, of a broad international co- operation, and of a bold dream. It is the summary of work carried out by the authors, and several other wonderful people, during more than 15 years, across 3 continents, in the course of countless meetings, workshops and discus- sions. It shows that neither language nor distance can be an obstacle to close scientific cooperation, when there is unity of goals and true collaboration. When we started, we had very different approaches to handling the mys- terious, almost magical world of asynchronous circuits. Some were more theo- retical, some were closer to physical reality, some were driven mostly by design needs. In the end, we all shared the same belief that true Electronic Design Automation research must be solidly grounded in formal models, practically minded to avoid excessive complexity, and tested "in the field" in the form of experimental tools. The results are this book, and the CAD tool petrify. The latter can be downloaded and tried by anybody bold (or desperate) enough to tread into the clockless (but not lawless) domain of small-scale asynchronicity. The URL is http://www.lsi. upc. esr j ordic/petrify. We believe that asynchronous circuits are a wonderful object, that aban- dons some of the almost militaristic law and order that governs synchronous circuits, to improve in terms of simplicity, energy efficiency and performance.
George Deem has deployed his virtuoso skills as a painter for over forty years, applying the traditional paint effects and glazes of the Masters with modern wit and freshness. This is the most comprehensive collection of his work ever assembled, introduced here by Robert Rosenblum.
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