A corpus of Rembrandt paintings IV self portraits /
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 R...
| Other Authors: | Rembrandt Harmenszoon van Rijn, 1606-1669., SpringerLink (Online Service) |
|---|---|
| Format: | eBook |
| Language: | English |
| Published: |
New York :
Springer,
2005.
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| Physical Description: |
1 online resource (690 pages) : illustrations. |
| Series: |
Rembrandt Research Project Foundation.
|
| Subjects: |
Table of Contents:
- Title Page; Table of Contents; Preface The Rembrandt Research Project: Past, Present, Future; The history of the project in terms of the formulation of the questions and the choice of methods; Organisation of Volumes IV
- V; Abandoning the ABC system; The organisation of the entries; The staff and financing of the RRP; The future of the project; Acknowledgements; Summary The genesis of this volume and a survey of its contents; The genesis of this volurne; Why so many self-portraits and for whom?; Other functions of Rembrandt's works before the mirror'; Non-autograph self-portraits.
- Variations in style and consequent problems over authenticityLikeness and expression; Aspects of Rembrandt's theoretical ideas on art; In conclusion; Photo acknowledgments; Bibliographical and other abbreviations; Essays; Chapter I By his own hand. The valuation of autograph paintings in the 17th century; I. Documents pertaining to the autograph status of paintings; II. Mark, monogram and signature; III. Probate inventories; IV. Rembrandt; Chapter II Rembrandt's clothes
- Dress and meaning in his self-portraits; Appendix; Contents of Chapter III.
- Chapter III Rembrandt's self-portraits: problems of authenticity and functionIntroduction; Possible objective criteria for attribution;
- Rembrandt himself;
- Provenance;
- Signatures;
- Physiognomy;
- X-Radiography; The 'palimpsest'; The repentir; The application of white lead;
- Supports, grounds and the first stages in the development of the painting;
- The quality of the pictorial illusion; a dem.onstration;
- The Bayesian approach; Three factors complicating the identification of the body of Rembrandt's autograph self-portraits; 1. Variable and invariable aspects of Rembrandt's style.
- 2. 'Self-portraits' produced by others in Rembrandt's workshop*3. The various functions of Rembrandt's self-portraits*; Different approaches to ordering; The danger of anachronism; Rembrandt's self-portraits andour innate tendency to read an expression into a face; Art lovers and the self-portrait in stock; Rembrandt's hundreds of self-portraits and the question of authentictiy; The drawn self-portraits (1629
- 1660). Remarks on their possible function and authenticity*; The self-portraits of 1625-1640 revisited;
- The Leiden period (1625-1631).
- The painter and etcher as his most patient modelTechnical and pictorial studies; Studies of different facial expressions; ""Tronies'for which Rembrandt used himself as a model;
- The Leiden portraits of Rembrandt by Rembrandt;
- Rembrandt in Amsterdam (1631-1639);
- The etched in relation to the painted self-portraits; -Etched 'portraits of Rembradt' by Rembrandt"", aborted or incomplete;
- The painted self-portraits from the first decade in Amsterdam; The self-portraits infashionable attire (163 1-1633/34); The early Amsterdam self-portraits in historicizing costume (/633-1635).