Since the second half of the last century art historians, realizing that the image of Rembrandt's work had become blurred with time, have attempted to redefine the artist's significance both as a source of inspiration to other artists and as a great artist in his own right. In order to carry on the work started by previous generations, a group of leading Dutch art historians from the university and museum world joined forces in the late 1960s in order to study afresh the paintings usually ascribed to the artist. The researchers came together in the Rembrandt Research Project which was established to provide the art world with a new standard reference work which would serve the community of art historians for the nearby and long future.They examined the originals of all works attributed to Rembrandt taking full advantage of today's sophisticated techniques including radiography, neutron activation autoradiography, dendrochronology and paint sample analysis - thereby gaining valuable insight into the genesis and condition of the paintings.The result of this meticulous research is laid down chronologically in the following Volumes:THIS VOLUME: A Corpus of Rembrandt Paintings, Volume I, which deals with works from Rembrandt's early years in Leiden(1629-1631), published in 1982.A Corpus of Rembrandt Paintings, Volume II, covering his first years in Amsterdam (1631-1634), published in 1986.A Corpus of Rembrandt Paintings, Volume III, goes into his later years of reputation (1635-1642), published in 1990.Each Volume consists of a number of Introductory Chapters as well as the full Catalogue of all paintings from the given time period attributed to Rembrandt. In this catalogue each painting is discussed and examined in a detailed way, comprising a descriptive, an interpretative and a documentary section. For the authenticity evaluation of the paintings three different categories are used to divide the works in:A. Paintings by Rembrandt, B. Paintings of which Rembrandt's authorship cannot be positively either accepted or rejected, and C. Paintings of which Rembrandt's authorship cannot be accepted.This volume (Volume I) contains 730 pages, starting of with four introductory chapters and discussing 93 paintings. In clear and accessible explanatory text all different paintings are discussed, larded with immaculate images of each painting. Details are shown where possible, as well as the results of modern day technical imaging. In this volume the first ever works by Rembrandt are discussed, also using his etchings as comparison.
This title features beautiful works of art specially selected to accompany delightful pieces of verse and prose. It includes classic poetry by Chaucer, Shakespeare, Spencer, Tennyson, and Milton, amongst others, as well as anonymous rhymes, folk songs and fairy lore passed down through the centuries. The chapters include Famous Fairies; Fairy Tricks and Good Turns; Fairy Possessions, Feasts and Sports; Fairy Homes; and Fairy Lovers. It is a book that celebrates these elusive creatures, with poetry and tales of their exploits, and evocative pictures which capture their entrancing, fragile charm. It is a beautiful gift anthology to keep or give away. In folklore and tales fairies come in many forms: ethereal queens, beautiful enchantresses; house fairies and woodland sprites, the tiny spirits of flowers and trees; mischievous pixies; elves and nymphs. In whatever form they appear to those who believe in them, fairies are always mysterious, magical and secretive. They live in a curious half-world, which exists in the mists just beyond human perception but is always rooted in nature. In art and literature fairies often appear to the innocent or the lost, to children or questing knights, and they can be found at twilight in woodland glades, inside fairy rings, or on deserted moonlit beaches. This book brings together classic works of art, and much-loved and quoted poetry and prose, to celebrate these elusive creatures and create a celebration of the land of faerie and its inhabitants.
In Volume IV the focus lies on Rembrandt's self-portraits. During this research it became obvious that matters of authenticity cannot be viewed separately from questions relating to the original function and meaning of these works. Rembrandt's intriguing life-long practice of portraying himself in front of a mirror is examined in depth in this volume. As a result, not only has the group of approximately forty painted self-portraits gained transparency, but also new insights have been developed regarding Rembrandt's drawn and etched self-portraits. The problems of authenticity relating to a substantial number of self-portraits which in the past were attributed to Rembrandt, in this volume receive an unexpected nuance: through a combination of technical and stylistic research it is demonstrated that some of Rembrandt's self-portraits were in fact painted by others in his workshop.In clear and accessible explanatory texts the different paintings are discussed. Among the many illustrations are life-size colour reproductions of the faces of the self-portraits under discussion. Details are shown where possible, as well as the results of modern day technical imaging like X-radiography. The volume contains an -- in several respects eye-opening -- essay by the head of the Rembrandt Research Project, Ernst van de Wetering, on the problems of authenticity and function of Rembrandt's self-portraits. In addition, the book includes groundbreaking contributions by Marieke den Winkel on the meaning of dress and costume in Rembrandt's self-portraits, by Karin Groen on the use of grounds in Rembrandt's workshop and in paintings by his contemporaries, and a study by Jaap van der Veen concerning 17th-century ideas about authenticity in art.This reference work should be part of every serious art historical institute, university or museum. The enigma of Rembrandt's self-portraits, one of the most compelling phenomena in art history has been unravelled by Ernst van de Wetering with unprecedented thoroughness.
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