This collection brings together art historians, museum professionals, conservators, and conservation scientists whose work involves Rembrandt van Rijn and associated artists such as Gerrit Dou, Jan ...Lievens, and Ferdinand Bol. The range of subjects considered is wide: from the presentation of convincing evidence that Rembrandt and his contemporary Frans Hals rubbed elbows in the Amsterdam workshop of Hendrick Uylenburgh to critical reassessments of the role of printmaking in Rembrandt's studio, his competition with Lievens as a landscape painter, his reputation as a collector, and much more. Developed from a series of international conferences devoted to charting new directions in Rembrandt research, these essays illuminate the current state of Rembrandt studies and suggest avenues for future inquiry.
Was Rembrandt Stereoblind?/THE AUTHORS REPLY Marmor, Michael F; Shaikh, Saad; Livingstone, Margaret S ...
The New England journal of medicine,
02/2005, Letnik:
352, Številka:
6
Journal Article
Recenzirano
THE AUTHORS REPLY: Of the 10 paintings cited by Michael F. Marmor, M.D. and Shaikh, 4 are not authentic Rembrandt self-portraits (the first, second, and eighth works listed in their Table 1 were not ...painted by Rembrandt, and the fifth is not a self-portrait).1 The remaining six were included in our comprehensive survey.
Heritage Science. In their Research Article (e202216478), Victor Gonzalez et al. report the detection and distribution of lead(II) formate in Rembrandt's Night Watch from the macro‐ to the microscale.
Although Rembrandt's study of the Bible has long been recognized as intense, his interest in secular literature has been relatively neglected. Yet Philips Angel (1641) praised Rembrandt for ..."diligently seeking out the knowledge of histories from old musty books." Amy Golahny elaborates on this observation, reconstructing Rembrandt's library on the evidence of the 1656 inventory and discerning anew how Rembrandt's reading of histories contributed to his creative process. Golahny places Rembrandt in the learned vernacular culture of seventeenth-century Holland and shows the painter to have been a pragmatic reader whose attention to historical texts strengthened his early rivalry with Rubens for visual drama and narrative erudition.
