Remembering Rembrandt
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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, 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 . -
A Catalogue of Rembrandt's Etchings
Fk-.oVO, UU«xH Digitized by the Internet Archive in 2011 with funding from Brigham Young University http://www.archive.org/details/catalogueofrembrOOhind a' catalogue of rembrandt's etchings CHRONOLOGICALLY ARRANGED AND COMPLETELY ILLUSTRATED B y ARTHUR M. HIND OF THE BRITISH MUSEUM SLADE PROFESSOR OF FINE ART IN THE UNIVERSITY OF OXFORD IN TWO VOLUMES VOL. I INTRODUCTION AND CATALOGUE WITH FRONTISPIECE IN PHOTOGRAVURE, AND TEN PLATES ILLUSTRATING STUDIES FOR THE ETCHINGS METHUEN AND CO. LTD. 36 ESSEX STREET W.C. LONDON First Published February igis Second Edition, revised and in part rewritten . '9^3 THE LIBRARY BRIGHAM YOUWG UIN/IVERSIT^ PROVO, UTAH PREFACE THE present catalogue is a revised edition of the one which appeared in 1912 in my Rembrandt's Etchings, an Essay and a Catalogue, with some Notes on the Drawings. The Introduction is also composed to a large extent of material from the same volume, but revised and re-arranged with the definite object of providing such notes as would be of most use to the student and collector of Rembrandt's etchings (e.g. in the addition of a list of values). The volume of plates, to which a few subjects have been added since 1912, will no doubt be of service for purposes of identifica- tion, and will, I hope, appeal equally to the amateur or artist who merely wishes to be reminded of this incomparable series of subjects. For drawing my attention to new states or other details of description in the Catalogue, I would express acknowledgment to Jhr. Mr. J. F. -
The Dispersal and Formation of Sir Thomas Lawrence's Collection
Cambridge University Press 978-0-521-55133-5 - The Drawings of Michelangelo and his Followers in the Ashmolean Museum Paul Joannides Excerpt More information the dispersal and formation of sir thomas lawrence’s collection of drawings by michelangelo i. the dispersal from Michelangelo apart – in its essentials has not changed since 1846, although one sheet of drawings hitherto In 1846 the University of Oxford acquired, through the placed in the Raphael school is here included as a copy generosity of a number of benefactors but supremely that after Michelangelo – an identification, indeed, made in of Lord Eldon, a large number of drawings by, attributed 1830 but subsequently overlooked.5 to, or associated with Michelangelo and Raphael. Put The two series that came to Oxford were the remains on display in the University Galleries were fifty-three of two much larger series of drawings, both owned by mountings of drawings associated with Michelangelo, and the man who has clear claim to be the greatest of all 137 by Raphael.1 Some of these mountings comprised English collectors of Old Master Drawings: Sir Thomas two or more drawings and the overall total of individual Lawrence. It is Lawrence’s collection that provided all drawings was somewhat larger.2 This exhibition and – the drawings by, and most of those after, Michelangelo consequently – its catalogue included most, but not the now in the Ashmolean Museum. Lawrence, himself a totality, of the drawings by these artists offered for sale fine draughtsman, whose precision and skill in this area -
The Print Legacy of Albrecht Dürer, a Renaissance Man
For Immediate Release Monday, 22 October 2007 Contact: Hannah Schmidt +44 (0) 207 389 2964 [email protected] THE PRINT LEGACY OF ALBRECHT DÜRER, A RENAISSANCE MAN The Genius of the German Renaissance: Prints by Albrecht Dürer Christie’s London Tuesday, 4 December 2007 at 2pm London – Print sales in 2007 will culminate with a flourish at Christie’s in December with The Genius of the German Renaissance: Prints by Albrecht Dürer (1471-1528) on Tuesday, 4 December 2007. This auction provides an extraordinary insight into Dürer's powerful graphic oeuvre, with 130 lots spanning allegorical scenes, mythological and biblical stories. Highlights from the sale include Dürer’s key works led by Death, Knight and the Devil, 1513 (estimate: £200,000-300,000) illustrated left and his four main series The Apocalypse, 1496-1511 (estimate: £80,000-120,000), The Large Passion, circa 1496-1511 (estimate: £80,000-120,000), The Life of the Virgin, circa 1502-1510 (estimate: £80,000-120,000) and The Small woodcut Passion, circa 1508-1510 (estimate: £30,000-40,000).With estimates ranging from £2,000 to £300,000, the sale is expected to realise in excess of £2 million. Albrecht Dürer carried the medium of prints to revolutionary new heights artistically, technically and as a means of self publicity. Hailed by the British museum as the ‘first truly international artist,’ his work is so highly revered that Germans refer to the turn of the 16th century as ‘the age of Dürer’. Having learnt the importance of precision, exemplified in A Coat of Arms with a Skull, 1503 illustrated right (estimate: £50,000-70,000), whilst a young apprentice at his father’s Goldsmiths, Dürer went on to learn printmaking from the leading Nuremberg artist Michael Wolgemut. -
Open Access Version Via Utrecht University Repository
Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka Philosopher on the throne Magdalena Grądzka Philosopher on the throne Stanisław August’s predilection for Netherlandish art in the context of his self-fashioning as an Enlightened monarch Magdalena Grądzka 3930424 March 2018 Master Thesis Art History of the Low Countries in its European Context University of Utrecht Prof. dr. M.A. Weststeijn Prof. dr. E. Manikowska 1 Philosopher on the throne Magdalena Grądzka Index Introduction p. 4 Historiography and research motivation p. 4 Theoretical framework p. 12 Research question p. 15 Chapters summary and methodology p. 15 1. The collection of Stanisław August 1.1. Introduction p. 18 1.1.1. Catalogues p. 19 1.1.2. Residences p. 22 1.2. Netherlandish painting in the collection in general p. 26 1.2.1. General remarks p. 26 1.2.2. Genres p. 28 1.2.3. Netherlandish painting in the collection per stylistic schools p. 30 1.2.3.1. The circle of Rubens and Van Dyck p. 30 1.2.3.2. The circle of Rembrandt p. 33 1.2.3.3. Italianate landscapists p. 41 1.2.3.4. Fijnschilders p. 44 1.2.3.5. Other Netherlandish artists p. 47 1.3. Other painting schools in the collection p. 52 1.3.1. Paintings by court painters in Warsaw p. 52 1.3.2. Italian paintings p. 53 1.3.3. French paintings p. 54 1.3.4. German paintings p. -
Rembrandt's Three Crosses
Mildred Lane Kemper Art Museum Spotlight Series: October 2008 By Paul Crenshaw, assistant curator for prints and drawings and senior lecturer in art history One of the most dynamic prints ever made, Rembrandt van Rijn’s The Three Crosses (1653) displays technical innovation and engagement with the human subjectivity of Rembrandt van Rijn The Three Crosses, 1653 Drypoint (4th state), 15 1/4 x 17 13/16" Christ’s death. A torrential downpour of lines Gift of Dr. Malvern B. Clopton, 1930 envelopes dozens of figures on the hill of Rembrandt van Rijn Golgotha, where Christ is pictured crucified The Three Crosses, 1660-61 Etching and drypoint (4th state)tate) amidst the two thieves. Even though it is an 15 1/4 x 17 13/16 " Gift of Dr. Malvern B. Clopton, 1930 inherently tragic subject commonly portrayed in Christian tradition, never before had it been staged with such sweeping emotional force. Rembrandt was inspired by the text of the Gospels (Matthew 27:45–54) proclaiming that a darkness covered the land from noon to three o’clock, when Jesus cried out with a loud voice, “Elí, Elí, lemá sabachtháni?” (“My God, my God, why have you forsaken me?”). When Jesus died, the passage continues, the earth shook, rocks split, tombs opened, and the bodies of many sleeping saints arose. To achieve these supernatural effects, Rembrandt employed the kind of bold technical ingenuity that helped define him as one of the most significant printmakers of his age. The Kemper Art Museum impression is a fine example of the fourth state of the print, which gives a dramatically different tenor and narrative focus to his subject than earlier states did. -
Handbook of the Collections
Bowdoin College Bowdoin Digital Commons Museum of Art Collection Catalogues Museum of Art 1981 Handbook of the Collections Bowdoin College. Museum of Art Margaret Burke Follow this and additional works at: https://digitalcommons.bowdoin.edu/art-museum-collection- catalogs Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation Bowdoin College. Museum of Art and Burke, Margaret, "Handbook of the Collections" (1981). Museum of Art Collection Catalogues. 5. https://digitalcommons.bowdoin.edu/art-museum-collection-catalogs/5 This Book is brought to you for free and open access by the Museum of Art at Bowdoin Digital Commons. It has been accepted for inclusion in Museum of Art Collection Catalogues by an authorized administrator of Bowdoin Digital Commons. For more information, please contact [email protected]. Bowdoin College Museum of Art HANDBOOK of the Collections The Bowdoin College Library Digitized by the Internet Archive in 2015 https://archive.org/details/handbookofcollecOObowd Handbook of the Collections Walter Art Building McKim, Mead & White, architects i8g2-i8g4 Bowdoin College Museum of Art HANDBOOK COLLECTIONS Edited by MARGARET R. BURKE BRUNSWICK, MAINE 1981 COVER DRAWING BASED ON ORNAMENTAL DETAILS OF THE WALKER ART BUILDING BY JOSEPH NICOLETTI TYPE COMPOSITION BY THE ANTHOENSEN PRESS OFFSET PRINTING BY THE MERIDEN GRAVURE COMPANY DESIGN BY JOHN McKEE This project is supported by a grant from the National Endowment for the Arts in Washington, D.C., a federal agency. ISBN: 0-916606-01-5 Library of Congress Catalog Card Number: 81—66892 Copyright 1981 by the President and Trustees of Bowdoin College All rights reserved the memory ofJohn H. -
40 880 46 12 [email protected] ∙ Le Claire Kunst Seit 1982
LE CLAIRE KUNST SEIT 1982 MAGDALENENSTRASSE 50 ∙ 20148 HAMBURG ∙ TELEFON +49 (0)40 881 06 46 ∙ FAX +49 (0)40 880 46 12 [email protected] ∙ WWW.LECLAIRE-KUNST.DE LE CLAIRE KUNST SEIT 1982 GIOVANNI BATTISTA TIEPOLO Venice 1696 – 1770 Madrid Allegorical Figures of Valour and Fame: The Apotheosis of a Warrior Pen and brown ink and brown wash, over an underdrawing in black chalk. Inscribed M. Fauchier Magnan / J. B. Tiepolo / Allegorie on a label pasted onto the old backing board. 216 x 289 mm. PROVENANCE: William Bateson, Merton House, Grantchester, nr. Cambridge, in 1910 – Adrien Fauchier- Magnan, Neuilly-sur-Seine – Winterfeld collection – Anonymous sale (‘The Property of a Gentleman’), London, Sotheby’s, 9 December 1936, lot 59 (as ‘The Genii of Victory and Fame’), bt. Walford Wilson for £90 – E. V. Thaw and Co., New York – John R. Gaines, Lexington, Kentucky – His sale, New York, Sotheby’s, 17 November 1986, lot 23 – Private collection LITERATURE: Eduard Sack, Giambattista und Domenico Tiepolo, ihr Leben und ihre Werke, Hamburg, 1910, p.252, no.103 EXHIBITION: Exhibition of Venetian Painting of the Eighteenth Century, Burlington Fine Arts Club, London, 1911, no.65 (as The Genii of Victory and Fame, lent by Bateson) ‘Tiepolo originally drew mainly for himself, but this does not prevent his drawings from being aesthetically completely autonomous. Far from constituting mere preparatory exercises for paintings, they can be seen as independent and distinctive works of art in their own right which exist in many cases alongside his paintings as a vast and exceptional body of work. -
Corpus Rubenianum Ludwig Burchard
$ CORPUS RUBENIANUM LUDWIG BURCHARD PART I THE CEILING PAINTINGS FOR THE JESUIT CHURCH IN A N T W E R P JOHN RUPERT MARTIN CORPUS RUBENIANUM LUDWIG BURCHARD AN ILLUSTRATED CATALOGUE RAISONNE OF THE WORK OF PETER PAUL RUBENS BASED ON THE MATERIAL ASSEMBLED BY THE LATE DR. LUDWIG BURCHARD IN TWENTY-SIX PARTS SPONSORED BY THE CITY OF ANTWERP AND EDITED BY THE “NATIONAAL CENTRUM VOOR DE PLASTISCHE KUNSTEN IN DE XVI de EN XVII de EEUW” R.-A. d’HULST, President - F. BAUDOUIN, Secretary M. DE MAEYER - J . DUVERGER - L. LEBEER - H. LIEBAERS J.-K . STEPPE - W. VANBESELAERE THE CEILING PAINTINGS FOR THE JESUIT CHURCH IN ANTWERP JOHN RUPERT MARTIN PHAIDON LONDON • NEW YORK COPYRIGHT IN BRUSSELS, BELGIUM, BY ARCADE PRESS, 19 68 PUBLISHED IN THE UNITED KINGDOM BY PHAIDON PRESS LTD. J CROMWELL PLACE, LONDON SW 7. SBN 7148 I342 7 PUBLISHED IN THE U.S.A. BY FREDERICK A. PRAEGER, INC. I l l FOURTH AVENUE, NEW YORK, N.Y. IOOO3 LIBRARY OF CONGRESS CATALOG CARD NUMBER : 68- 21 258 PUBLISHED WITH THE AID OF A SUBVENTION FROM THE BARR FERREE FOUNDATION DEPARTMENT OF ART AND ARCHAEOLOGY, PRINCETON UNIVERSITY PRINTED IN BELGIUM - LEGAL DEPOSIT D / 19 6 7 / 0 7 2 1/ 5 CONTENTS FOREWORD VII LIST OF ILLUSTRATIONS I SOURCES OF PHOTOGRAPHS 11 ABBREVIATIONS 13 AUTHOR’S PREFACE 19 INTRODUCTION 2 1 I. THE BUILDING OF THE “ MARBLE TEMPLE” AND THE “ BRAVE PICTURES OF RUBENS MARRING” 2 3 II. THE CATASTROPHE OF 1718 AND THE WORKOF THE COPYISTS 44 III. DESCRIPTION OF THE CYCLE 54 IV. -
Of All Rembrandt's Etchings. the Hundred Guilder Print (Fig. 4.1)
Originalveröffentlichung in: Ingersoll, Catherine ; McCusker, Alice ; Weiss, Jessica (Hrsgg.): Imagery and ingenuity in early modern Europe : essays in honor of Jeffrey Chipps Smith, Turnhout 2018, S. 55-71 The Cloak of Mercy: Reflections on Rembrandt’s Etching The Hundred Guilder Print Jurgen Muller Of all Rembrandt’setchings. The Hundred Guilder Print (Fig. 4.1) is perhaps the best known.1 The image has been highly praised since its creation, and it has given rise to numerous legends.2 *The popular name for the etching refers to the enormous price of one hundred guilders that collectors were said to have paid for the exceptional piece, with Rembrandt himself spending the same amount to purchase the sheet back again. Even though this latter anecdote may have been invented, it nevertheless goes to show that connoisseurs of prints esteemed the piece from very eaily on. Today, the assumption is that the image was exchanged as a gift between friends? This theory is based on a handwritten note on an impression of The Hundred Guilder Print in the Dutuit Collection. The note describes how, in exchange for his work, Rembrandt received a copperplate engraving depicting the plague that Raimondi had created after Raphael.4 This note would lead us to believe that Rembrandt’s work was intended less as an item for sale than as a piece intended for special collectors and other artists, a fact that has contributed to the etching’s legendary reputation.5 *It is no surprise therefore that The Hundred Guilder Print survives in only two states that differ from each other only minimally/’ The vibrancy and size of the space and the number of figures - a crowd of more than forty people - represented in the image are astonishing, especially when considering the work’s small format of 10.9 x 15.3 inches. -
April 2007 Newsletter
historians of netherlandish art NEWSLETTER AND REVIEW OF BOOKS Dedicated to the Study of Netherlandish, German and Franco-Flemish Art and Architecture, 1350-1750 Vol. 24, No. 1 www.hnanews.org April 2007 Have a Drink at the Airport! Jan Pieter van Baurscheit (1669–1728), Fellow Drinkers, c. 1700. Rijksmuseum, Amsterdam. Exhibited Schiphol Airport, March 1–June 5, 2007 HNA Newsletter, Vol. 23, No. 2, November 2006 1 historians of netherlandish art 23 S. Adelaide Avenue, Highland Park NJ 08904 Telephone/Fax: (732) 937-8394 E-Mail: [email protected] www.hnanews.org Historians of Netherlandish Art Officers President - Wayne Franits Professor of Fine Arts Syracuse University Syracuse NY 13244-1200 Vice President - Stephanie Dickey Bader Chair in Northern Baroque Art Queen’s University Kingston ON K7L 3N6 Canada Treasurer - Leopoldine Prosperetti Johns Hopkins University North Charles Street Baltimore MD 21218 European Treasurer and Liaison - Fiona Healy Marc-Chagall-Str. 68 D-55127 Mainz Germany Board Members Contents Ann Jensen Adams Krista De Jonge HNA News .............................................................................. 1 Christine Göttler Personalia ................................................................................ 2 Julie Hochstrasser Exhibitions ............................................................................... 2 Alison Kettering Ron Spronk Museum News ......................................................................... 5 Marjorie E. Wieseman Scholarly Activities Conferences: To Attend ..........................................................