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A Young Boy in a Plumed Cap Black Chalk, with Traces of Red Chalk, and Framing Lines in Brown Ink
Jacob Adriaensz. BACKER (Harlingen 1608 - Amsterdam 1651) A Young Boy in a Plumed Cap Black chalk, with traces of red chalk, and framing lines in brown ink. Signed Backer. at the lower right. 168 x 182 mm. (6 5/8 x 7 1/8 in.) This charming drawing is a preparatory study for the pointing child at the extreme left of Jacob Backer’s Family Portrait with Christ Blessing the Children, a painting datable to c.1633-1634. This large canvas was unknown before its first appearance at auction in London in 1974, and is today in a private collection. The present sheet is drawn with a vivacity and a freedom in the application of the chalk that is stylistically indebted to Rembrandt’s chalk drawings of the same period, namely the early 1630s. Drawings executed in black chalk alone are rare in Backer’s oeuvre, but this drawing may be compared in particular to a signed and dated Self-Portrait in black chalk by Backer of 1638, in the Albertina in Vienna. A black chalk study of A Man in a Turban, in the Boijmans-van Beuningen Museum in Rotterdam, may also be likened to the present sheet. Provenance: Probably by descent to the artists’s brother, Tjerk Adriaensz. Backer, Amsterdam Iohan Quirijn van Regteren Altena, Amsterdam (his posthumous sale stamp [Lugt 4617] stamped on the backing sheet) Thence by descent. Literature: Werner Sumowski, Drawings of the Rembrandt School, Vol.I, New York, 1979, pp.20-21, no.3 (where dated to the mid-1630s), and also pp.46-47, under nos.16x and 17x, p.52, under no.19x and p.54, under no.20x; Werner Sumowksi, Gemälde der Rembrandt-Schüler, Landau/Pfalz, 1983, Vol.I, p.203, under no.72; Peter van den Brink, ‘Uitmuntend Schilder in het Groot: De schilder en tekenaar Jacob Adriansz. -
Rembrandt Van Rijn
Rembrandt van Rijn 1606-1669 REMBRANDT HARMENSZ. VAN RIJN, born 15 July er (1608-1651), Govaert Flinck (1615-1660), and 1606 in Leiden, was the son of a miller, Harmen Ferdinand Bol (1616-1680), worked during these Gerritsz. van Rijn (1568-1630), and his wife years at Van Uylenburgh's studio under Rem Neeltgen van Zuytbrouck (1568-1640). The brandt's guidance. youngest son of at least ten children, Rembrandt In 1633 Rembrandt became engaged to Van was not expected to carry on his father's business. Uylenburgh's niece Saskia (1612-1642), daughter Since the family was prosperous enough, they sent of a wealthy and prominent Frisian family. They him to the Leiden Latin School, where he remained married the following year. In 1639, at the height of for seven years. In 1620 he enrolled briefly at the his success, Rembrandt purchased a large house on University of Leiden, perhaps to study theology. the Sint-Anthonisbreestraat in Amsterdam for a Orlers, Rembrandt's first biographer, related that considerable amount of money. To acquire the because "by nature he was moved toward the art of house, however, he had to borrow heavily, creating a painting and drawing," he left the university to study debt that would eventually figure in his financial the fundamentals of painting with the Leiden artist problems of the mid-1650s. Rembrandt and Saskia Jacob Isaacsz. van Swanenburgh (1571 -1638). After had four children, but only Titus, born in 1641, three years with this master, Rembrandt left in 1624 survived infancy. After a long illness Saskia died in for Amsterdam, where he studied for six months 1642, the very year Rembrandt painted The Night under Pieter Lastman (1583-1633), the most impor Watch (Rijksmuseum, Amsterdam). -
Gary Schwartz
Gary Schwartz A Corpus of Rembrandt Paintings as a Test Case for Connoisseurship Seldom has an exercise in connoisseurship had more going for it than the world-famous Rembrandt Research Project, the RRP. This group of connoisseurs set out in 1968 to establish a corpus of Rembrandt paintings in which doubt concer- ning attributions to the master was to be reduced to a minimum. In the present enquiry, I examine the main lessons that can be learned about connoisseurship in general from the first three volumes of the project. My remarks are limited to two central issues: the methodology of the RRP and its concept of authorship. Concerning methodology,I arrive at the conclusion that the persistent appli- cation of classical connoisseurship by the RRP, attended by a look at scientific examination techniques, shows that connoisseurship, while opening our eyes to some features of a work of art, closes them to others, at the risk of generating false impressions and incorrect judgments.As for the concept of authorship, I will show that the early RRP entertained an anachronistic and fatally puristic notion of what constitutes authorship in a Dutch painting of the seventeenth century,which skewed nearly all of its attributions. These negative judgments could lead one to blame the RRP for doing an inferior job. But they can also be read in another way. If the members of the RRP were no worse than other connoisseurs, then the failure of their enterprise shows that connoisseurship was unable to deliver the advertised goods. I subscribe to the latter conviction. This paper therefore ends with a proposal for the enrichment of Rembrandt studies after the age of connoisseurship. -
Betrachtungen Zur Sammlung
Valentina Vlasic Fokus Flinck Es ist fünfzig Jahre her, dass die letzte monographische Ausstellung den war, vorwegnahm – nämlich von seinem Freund, dem großen des barocken Malers Govert Flinck (1615-1660) stattgefunden hat. Wie niederländischen Nationaldichter Joost van den Vondel, mit dem „Reflecting History“ heute kam auch sie in seiner Geburtsstadt Kleve sagenumwobenen griechischen Künstler gleichgesetzt zu werden. zustande, und wurde vom Archivar und ersten Museumsleiter Fried- rich Gorissen (1912-1993) aus Anlass eines Jubiläums – damals des 350. Klever Sammlung Es ist ein großer Verdienst Friedrich Gorissens, Geburtstags von Flinck – organisiert. Sie fand im damaligen Städti- dass zahlreiche der historischen Besonderheiten Kleves für seine Fokus Flinck: Betrachtungen zur schen Museum Haus Koekkoek (heute Stiftung B.C. Koekkoek-Haus) Bürger und für die Nachwelt sichtbar sind. Mit seiner umsichti- statt, das 1957 gegründet und drei Jahre später eröffnet worden war. gen Forschungs- und Sammlungstätigkeit – u.a. den Werken nie- Sammlungsgeschichte, Die Ausstellung über Flinck war vom 4. Juli bis 26. September 1965 derrheinischer mittelalterlicher Bildschnitzer gewidmet, der Kunst zu sehen und es wurden – nicht unähnlich wie heute – 47 Gemälde des Barock am Klever Hof des Statthalters Johann Moritz von Nas- zum Werk und zur Ausstellung und 26 Zeichnungen aus aller Herren Länder präsentiert. Darunter sau-Siegen und der romantischen Klever Malerschule rund um Ba- befanden sich sowohl biblisch-mythologische Szenen wie Jakob er- rend Cornelis Koekkoek – legte er den Grundstein für das Klever hält Josephs blutigen Mantel (Kat. Nr. 22) und Salomo bittet um Weisheit Museum, das später von Guido de Werd umfassend ausgebaut wor- (Kat. Nr. 27) als auch Porträts wie Rembrandt als Hirte (Kat. -
Rembrandt Packet Aruni and Morgan.Indd
Rembrandt Harmenszoon Van Rijn Etchings Education Packet The Florida State University September 20- October 6 Museum of Fine Arts See website for updates of times, www.MOFA.fsu.edu hours and events. Table of Contents Rembrandt Harmenszoon van Rijn Biography ...................................................................................................................................................2 Rembrandt’s Styles and Influences ............................................................................................................ 3 Printmaking Process ................................................................................................................................4-5 Focus on Individual Prints: Landscape with Three Trees ...................................................................................................................6-7 Hundred Guilder .....................................................................................................................................8-9 Beggar’s Family at the Door ................................................................................................................10-11 Suggested Art Activities Three Trees: Landscape Drawings .......................................................................................................12-13 Beggar’s Family at the Door: Canned Food Drive ................................................................................14-15 Hundred Guilder: Money Talks ..............................................................................................16-18 -
Rembrandt: a Milestone of Portraiture
Artistic Narration: A Peer Reviewed Journal of Visual & Performing Art ISSN (P): 0976-7444 (e): 2395-7247 Vol. VIII. 2016 IMPACT Factor - 3.9651 Rembrandt: a Milestone of Portraiture Syed Ali Jafar Assistant Professor Dept. of Painting, D.S. College, Aligarh. Email: [email protected] Abstract When we talk about portraiture, the name of Dutch painter Rembrandt comes suddenly in our mind who was born in 1607 and studied art in the studio of a well known portrait painter Pieter Lastman in Amsterdam. Soon after learning all the basics of art, young Rembrandt established himself as a portrait painter along with a reputation as an etcher (print maker). As a result, young and energetic Rembrandt established his own studio and began to apprentice budding artist almost his own age. In 1632, Rembrandt married to Saskia van Ulyenburg, a cousin of a well known art dealer who was not in favour of this love marriage. Anyhow after the marriage, Rembrandt was so happy but destiny has written otherwise, his beloved wife Saskia was died just after giving birth to the son Titus. Anyhow same year dejected Rembrandt painted his famous painting „Night Watch‟ which pull down the reputation of the painter because Rembrandt painted it in his favourite dramatic spot light manner which was discarded by the officers who had commissioned the painting. Despite having brilliant qualities of drama, lighting scene and movement, Rembrandt was stopped to obtain the commission works. So he stared to paint nature to console himself. At the same time, Hendrickje Stoffels, a humble woman who cared much to child Titus, married Rembrandt wise fully and devoted her to reduce the tide of Rembrandt‟s misfortune. -
In the Footsteps of the Dutch Masters by Rail
In the Footsteps of the Dutch Masters by Rail Travel Train Seats On the Eurostar legs of the journey you have Passports reserved seat and carriage numbers which are Please ensure your 10 year British Passport is not shown clearly on your ticket. There are no seat out of date and is valid for a full three months reservations between Brussels and The Hague, your beyond the duration of your visit. EU, Andorra, tour manager will have a group ticket for this Liechtenstein, Monaco, San Marino or Switzerland section of the journey. valid national identification cards are also acceptable for travel to the Netherlands. Baggage Visas As with most trains, passengers are responsible for British and EU passport holders are not required to carrying baggage onto and off the train. Baggage have a visa. can be stored on overhead shelves or at the entrance to the carriages. Trollies are available at St For all other passport holders please check the visa Pancras and Lille, but bags do need to be carried on requirements with the appropriate embassy. to the platform. Porters are sometimes but not always available at St Pancras. Dutch Embassy: 38 Hyde Park gate, London SW7 5DP. Tel: (0)20 7590 3200 or (09065) 508 916 (visa Travel Editions recommends a luggage delivery information line). Fax: (0)20 7581 348. service called thebaggageman, where your suitcase Email: [email protected]. can be picked up from your home before departure Website: www.netherlands-embassy.org.uk and delivered straight to your hotel; therefore Open Mon-Fri 0900-1700; 0900-1200 (for visa and removing the worry about carrying your cases onto passport section) and off the trains. -
Rembrandt in Southern California Exhibition Guide
An online exhibition exploring paintings by Rembrandt in Southern California. A collaboration between The Exhibition Rembrandt in Southern California is a virtual exhibition of paintings by Rembrandt Harmensz. van Rijn (Dutch, 1606–1669) on view in Southern California museums. This collaborative presentation offers a unique guide to exploring these significant holdings and provides information, suggested connections, and points of comparison for each work. Southern California is home to the third-largest assemblage of Rembrandt paintings in the United States, with notable strength in works from the artist’s dynamic early career in Leiden and Amsterdam. Beginning with J. Paul Getty’s enthusiastic 1938 purchase of Portrait of Marten Looten (given to LACMA in 1953; no. 9 in the Virtual Exhibition), the paintings have been collected over 80 years and are today housed in five museums, four of which were forged from private collections: the Hammer Museum, the J. Paul Getty Museum, and the Los Angeles County Museum of Art (LACMA) in Los Angeles; the Norton Simon Museum in Pasadena; and the Timken Museum of Art in San Diego. In addition, Rembrandt in Southern California provides insight into the rich holdings of etchings and drawings on paper by the master in museums throughout the region. Together, Southern California’s drawn, etched and painted works attest to the remarkable range of Rembrandt’s achievement across his long career. Self-Portrait (detail), about 1636–38. Oil on panel, 24 7/8 x 19 7/8 in. (63.2 x 50.5 cm). The Norton Simon Foundation, Pasadena, F.1969.18.P 1 NO. -
Evolution and Ambition in the Career of Jan Lievens (1607-1674)
ABSTRACT Title: EVOLUTION AND AMBITION IN THE CAREER OF JAN LIEVENS (1607-1674) Lloyd DeWitt, Ph.D., 2006 Directed By: Prof. Arthur K. Wheelock, Jr. Department of Art History and Archaeology The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens’s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens’s life came to an end in 1631when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck’s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. -
Rembrandt, with a Complete List of His Etchings by Arthur Mayger Hind
The Project Gutenberg EBook of Rembrandt, With a Complete List of His Etchings by Arthur Mayger Hind This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: Rembrandt, With a Complete List of His Etchings Author: Arthur Mayger Hind Release Date: February 5, 2010 [Ebook 31183] Language: English ***START OF THE PROJECT GUTENBERG EBOOK REMBRANDT, WITH A COMPLETE LIST OF HIS ETCHINGS *** Rembrandt, With a Complete List of his Etchings Arthur M. Hind Fredk. A. Stokes Company 1912 144, II. Rembrandt and his Wife, Saskia, 1636, B. 19 Contents REMBRANDT . .1 BOOKS OF REFERENCE . .7 A CHRONOLOGICAL LIST OF REMBRANDT'S ETCHINGS . .9 Illustrations 144, II. Rembrandt and his Wife, Saskia, 1636, B. 19 . vii 1, I. REMBRANDT'S MOTHER, Unfinished state. 1628: B. 354. 24 7, I. BEGGAR MAN AND BEGGAR WOMAN CON- VERSING. 1630. B. 164 . 24 20, I. CHRIST DISPUTING WITH THE DOCTORS: SMALL PLATE. 1630. B. 66 . 25 23, I. BALD-HEADED MAN (REMBRANDT'S FA- THER?) In profile r.; head only, bust added after- wards. 1630. B. 292. First state, the body being merely indicated in ink . 26 38, II. THE BLIND FIDDLER. 1631. B. 138 . 27 40. THE LITTLE POLANDER. 1631. B. 142. 139. THE QUACKSALVER. 1635. B. 129. 164. A PEASANT IN A HIGH CAP, STANDING LEANING ON A STICK. 1639. B. 133 . -
My Favourite Painting Monty Don a Woman Bathing in a Streamby
Source: Country Life {Main} Edition: Country: UK Date: Wednesday 16, May 2018 Page: 88 Area: 559 sq. cm Circulation: ABC 41314 Weekly Ad data: page rate £3,702.00, scc rate £36.00 Phone: 020 7261 5000 Keyword: Paradise Gardens My favourite painting Monty Don A Woman Bathing in a Stream by Rembrandt Monty Don is a writer, gardener and television presenter. His new book Paradise Gardens is out now, published by Two Roads i My grandfather took me to an art gallery every school holidays and, as my education progressed, we slowly worked our way through the London collections. Rembrandt, he told me, was the greatest artist who had ever lived. I nodded, but was uncertain on what to look for that would confirm that judgement. Then I saw this painting and instantly knew. The subject-almost certainly Rembrandt's common-law wife, Hendrickje Stoffels— is not especially beautiful nor has a body or demeanour that might command especial attention. But, as she lifts the hem of her shift to wade in the water, she is made transcendent by Rembrandt's genius. In this, the simplest of moments by an ordinary person in a painting that is hardly more than a sketch, Rembrandt has captured human love at its most 1 intimate and tender. And there is no A Woman Bathing in a Stream, 1654, by Rembrandt van Rijn (1606-69), 24 /4in 1 more worthy subject than that ? by 18 /2in, National Gallery, London John McEwen comments on^4 Woman Bathing in a Stream Geertje Dircx, Titus's nursemaid, became her church. -
Rembrandt Remembers – 80 Years of Small Town Life
Rembrandt School Song Purple and white, we’re fighting for you, We’ll fight for all things that you can do, Basketball, baseball, any old game, We’ll stand beside you just the same, And when our colors go by We’ll shout for you, Rembrandt High And we'll stand and cheer and shout We’re loyal to Rembrandt High, Rah! Rah! Rah! School colors: Purple and White Nickname: Raiders and Raiderettes Rembrandt Remembers: 80 Years of Small-Town Life Compiled and Edited by Helene Ducas Viall and Betty Foval Hoskins Des Moines, Iowa and Harrisonburg, Virginia Copyright © 2002 by Helene Ducas Viall and Betty Foval Hoskins All rights reserved. iii Table of Contents I. Introduction . v Notes on Editing . vi Acknowledgements . vi II. Graduates 1920s: Clifford Green (p. 1), Hilda Hegna Odor (p. 2), Catherine Grigsby Kestel (p. 4), Genevieve Rystad Boese (p. 5), Waldo Pingel (p. 6) 1930s: Orva Kaasa Goodman (p. 8), Alvin Mosbo (p. 9), Marjorie Whitaker Pritchard (p. 11), Nancy Bork Lind (p. 12), Rosella Kidman Avansino (p. 13), Clayton Olson (p. 14), Agnes Rystad Enderson (p. 16), Alice Haroldson Halverson (p. 16), Evelyn Junkermeier Benna (p. 18), Edith Grodahl Bates (p. 24), Agnes Lerud Peteler (p. 26), Arlene Burwell Cannoy (p. 28 ), Catherine Pingel Sokol (p. 29), Loren Green (p. 30), Phyllis Johnson Gring (p. 34), Ken Hadenfeldt (p. 35), Lloyd Pressel (p. 38), Harry Edwall (p. 40), Lois Ann Johnson Mathison (p. 42), Marv Erichsen (p. 43), Ruth Hill Shankel (p. 45), Wes Wallace (p. 46) 1940s: Clement Kevane (p. 48), Delores Lady Risvold (p.