Rembrandt: The Painter at Work

Amsterdam University Press, 1997 - 340 pagina's
Rembrandts paintings have been admired throughout centuries because of their artistic freedom. But Rembrandt was also a craftsman whose painting technique was rooted the tradition. Rembrandt—The Painter at Work is the result of a lifelong search for Rembrandt's working methods, his intellectual approach to the art of painting and the way in which his studio functioned. Ernst van de Wetering demonstrates how this knowledge can be used to tackle questions about authenticity and other art-historical issues. Approximately 350 illustrations, half of which are reproduced in colour, make this book into a monumental tribute to one of the worlds most important painters.

"The book is—if one may be allowed to say such a thing about a serious scholarly work—a gripping good-read.'
Christopher White, The Burlington Magazine

"This is a very rich book, a deeply felt analysis of an artist whom the author knows better than almost any other living scholar."
Christopher Brown, Times Literary Supplement

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Rembrandt: the painter at work

Gebruikersrecensie  - Not Available - Book Verdict

Van de Wetering's approach to Rembrandt's painting eschews traditional stylistic analysis and iconographic explication in favor of examining the artist's materials and methods of painting. This ... Volledige review lezen


Veelvoorkomende woorden en zinsdelen

Populaire passages

Pagina xii - I had the good fortune to enjoy the hospitality of the Netherlands Institute for Advanced Study in the Humanities and Social Sciences, an Institute of the Royal Netherlands Academy of Arts and Sciences.
Pagina 288 - Rembrandt heeft dit in zijn stuk op den Doele tot Amsterdam zeer wel, maer na veeler gevoelen al te veel, waergenomen, maekende meer werks van het groote beelt zijner verkiezing, als van de byzondere afbeeltsels, die hem waren aenbesteet. Echter zal dat zelve werk, hoe berispelijk, na mijn gevoelen al zijn meedestrevers verdueren, zijnde zoo schilderachtich van gedachten, zoo zwierich van sprong, en zoo krachtich, dat, nae zommiger gevoelen, al d' andere stukken daer als kaerteblaren nevens staen.
Pagina ix - Between 1969 and 1987 he was a staff member of the Central Research Laboratory for Objects of Art and Science in Amsterdam.
Pagina 285 - ... loro addosso con i colori tante volte, che la fatica vi si vede. E questo modo sì fatto è giudizioso, bello e stupendo, perché fa parere vive le pitture e fatte con grande arte, nascondendo le fatiche ». Non c'è dubbio, nella prospettiva del Vasari, questo è uno dei riconoscimenti più positivi del linguaggio tizianesco.
Pagina 245 - All in general striving to adorne their houses, especially the outer or street roome, with costly peeces, Butchers and bakers not much inferiour in their shoppes, which are Fairely sett Forth, yea many tymes blacksmithes...
Pagina 31 - ... Only two times in his life do we find Rembrandt expressing himself with anything like true feeling. The first is an inscription on a drawing of Saskia commemorating their engagement. The second was an exclamation of woe to a maidservant toward the end. The inscription to Saskia reads: This is drawn after my wife, when she was 21 years old, the third day after we were betrothed — 8 June 1633.
Pagina 288 - Ma pero quando il quadro pende giusto sopra suo giorno non si vedra niente." 96. Documents 1636/2. 97. Documents 1639/4: "hangt dit stuck op een starck licht en dat men daer wijt ken afstaen soo salt best voncken.
Pagina 276 - Netherlands, at the Central Research Laboratory for Objects of Art and Science; in Poland, at the Central Archives of Ancient Documents, Warsaw, and at the Microbiological Laboratory of the Institute of Organic Industry; in Spain, at the Centro National de Restauration de Libros y Documentos; in the Federal Republic of Germany...
Pagina 276 - J. Plesters and L. Lazzarini, 'Preliminary Observations on the Technique and Materials of Tintoretto', Conservation of Paintings and the Graphic Arts. Preprints of Contributions to the Lisboa Congress 1972, 1972, pp.
Pagina 254 - I myself as well — get a specific weight and balance. And in a way that is certainly difficult to prove, this is in part due to my conviction that this space is not 'made' but has 'become'; and that this is so because its maker did not 'make

Over de auteur (1997)

Ernst van de Wetering is full professor of Art History at the University of Amsterdam.  He has published extensively on historic painting techniques, as well as in the field of theory and ethics of conservation and restoration.

Bibliografische gegevens