DOCSLIB.ORG

News from the Getty

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
News from the Getty NEWS FROM THE GETTY news.getty.edu | [email protected] DATE: May 9, 2013 MEDIA CONTACT FOR IMMEDIATE RELEASE Amy Hood Getty Communications (310) 440-6427 [email protected] THE J.PAUL GETTY MUSEUM ACQUIRES TWO EXCEPTIONAL PAINTINGS, INCLUDING A SELF-PORTRAIT BY REMBRANDT Rembrandt Laughing, about 1628, by Rembrandt Harmensz. van Rijn and The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola, about 1738, by Canaletto LOS ANGELES—The J. Paul Getty Museum announced today the acquisition of two exceptional European paintings—a recently rediscovered self- portrait by one of the most celebrated painters in history, Rembrandt, and a light-filled view of the Grand Canal by Canaletto, Venice’s most influential painter. “It is extraordinary to be adding two such rare and outstanding works to the collection at the same time, each of which will greatly enhance what are already highly distinguished areas of our paintings collection,” said Timothy Potts, director of the J. Paul Getty Museum. “The Getty Museum Rembrandt Laughing, about 1628. Rembrandt Harmensz. possesses the most significant collection of early van Rijn (Dutch, 1606–1669). Oil on copper. Rembrandts in the United States, and if you had 8 3/4 x 6 5/8 in. J. Paul Getty Museum, Los Angeles. asked what addition would best cap it off, the answer would have been a self-portrait, which many regard as his greatest and most sustained achievement. But the chances of finding such a work seemed negligible—until the rediscovery of this painting in 2007. It is unquestionably one of the The Grand Canal in Venice from Palazzo Flangini to most remarkable works of art to become available in Campo San Marcuola, about 1738. Giovanni Antonio Canal, known as Canaletto (Italian, 1697–1768). Oil on recent memory.” canvas. 18 1/2 x 30 5/8 in. J. Paul Getty Museum, Los Angeles. -more- Page 2 “The Canaletto likewise is a tremendous addition to our growing collection of Italian view paintings,” Potts continued. “This view of the Grand Canal is one of the artist’s finest achievements in his signature style, and is in such pristine condition that the sunlit scene positively glistens. It represents the artist at the height of his powers and demonstrates the assured brilliance with which he captured Venice’s colorful pageant of villas, gondolas and bustling merchant life.” Rembrandt Rembrandt Laughing, about 1628, by Rembrandt Harmensz. van Rijn (Dutch, 1606– 1669) is an early self-portrait, depicting the artist—who would have been about 22—dressed as a soldier, in deep violet and brown clothes and sporting a gleaming steel gorget. The young man leans back, smiles broadly and catches the viewer’s eye. His animated features are captured in this spontaneous moment of lively exchange with expressive, short brushstrokes. Painted on copper, this small oil (8 3/4 x 6 5/8 inches) bears the artist’s monogram, “RHL,” which combines his name with Leiden, the city in which he was born and worked at the time. It is very well preserved and Rembrandt’s vigorous, assured technique has lost none of its immediacy. “Painted when Rembrandt was a young, newly independent artist, possibly the third self-portrait of his career, Rembrandt Laughing exemplifies his signature spirited, confident handling of paint and natural ability to convey emotion,” explains Scott Schaefer, senior curator of paintings at the Getty Museum. “It is a measure of the artist’s consummate skill that the dynamism of his pose and the act of laughing translates into a painting of tremendous visual impact, far exceeding its modest dimensions. It is destined to become one of the Getty’s signature paintings.” Considered the greatest painter of the Dutch Golden Age, Rembrandt possessed a brilliant technique and unrivaled ability to capture the drama of life. His exploratory interest in the human character was expressed not only through the interpretation of diverse mythological and historical subjects, but through an exceptional number of self-portraits, a genre he transformed. Ranging from informal studies to elaborate fantasies and distinguished likenesses, Rembrandt’s self-portraits are among his most lauded works. After centuries in private collections, this painting emerged on the market in 2007. Previously known only through print reproductions, it had been attributed to a contemporary of Rembrandt. Scholarly analysis and scientific testing, made possible once the painting -more- Page 3 entered the public sphere, led many experts, including leading members of the Rembrandt Research Project, to re-attribute the work to Rembrandt himself. It was exhibited to the public for the first time, as a Rembrandt, at the Rembrandthuis Museum in 2008. Notably, of the nearly 40 self-portraits he painted in his life, Rembrandt Laughing is the first in which he depicts himself in evocative costume. Rembrandt Laughing will be exhibited in the East Pavilion among the Museum’s four Rembrandt paintings (An Old Man in Military Costume, 1630–31; The Abduction of Europa, 1632; Daniel and Cyrus before the Idol Bel, 1633; Saint Bartholomew, 1661) and Rembrandt’s superb Portrait of a Girl Wearing a Gold-Trimmed Cloak of 1632 (on long-term loan from a private collection), and in proximity to other small-scale Dutch paintings on copper and panel. Canaletto In the 18th century, Giovanni Antonio Canal, called Canaletto (Italian, 1697-1768), was the leading star among Venetian painters. Canaletto’s sensitivity to atmospheric effects, coupled with precise perspective and keenly observed portrayals of daily life in his native Venice made him the city’s most sought-after painters, especially with British noblemen visiting Venice on the Grand Tour. As it does today, the Grand Canal defined Canaletto’s Venice and his paintings of this iconic waterway still profoundly evoke the bustle and romance of the Italian city. For The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola (18 1/2 x 30 5/8 inches), Canaletto selected a scene in the upper reaches of the Grand Canal, near the entrance of the Cannaregio Canal, with the viewer placed on a vessel in the middle of the waterway. Palazzo Flangini, bathed in sunlight, anchors the composition at left. Next to it, the lantern crowning the dome of the church of San Geremia juts out above the pale, unadorned frontage of the Scuola dei Morti, followed by the gabled rectory of San Geremia. Trees and shrubbery appearing over a garden wall mark the corner of the Grand Canal and the Cannaregio Canal, which branches off to the left. Throughout the scene, people go about the daily business of Venice: from a balcony, a female figure surveys the canal, while a nobleman in a wig stands in the doorway of the palace, either about to board or having just alighted from a gondola moored at the steps. According to Schaefer, “The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola is among Canaletto’s most refined and elegant works. The exceptional state of preservation of this canvas affords a rare opportunity to appreciate all the subtleties of -more- Page 4 Canaletto’s highly finished treatment at the peak of his powers, from the meticulously rendered architecture to the sparkling light.” The painting joins another painting by Canaletto in the Museum’s collection, the Roman View of the Arch of Constantine with the Colosseum, 1742–45. The Museum also owns two drawings by Canaletto. The Grand Canal in Venice from Palazzo Flangini to Campo San Marcuola will be exhibited together with Francesco Guardi’s (Italian, 1712–1793) The Grand Canal in Venice with Palazzo Bembo, c. 1768 (acquired by the Museum in 2005). As one of the very finest small-scale works of his early maturity, the Getty’s Guardi occupies a similar position in that artist’s oeuvre that the Grand Canal scene occupies in Canaletto’s. Both depict the same stretch of the Grand Canal at the mouth of the Cannaregio Canal; Guardi’s view looks west, Canaletto’s east, with several of the same buildings appearing in both. The two paintings are currently on view at the Getty Center in the South Pavilion (S203) of the Museum. # # # The J. Paul Getty Trust is an international cultural and philanthropic institution devoted to the visual arts that includes the J. Paul Getty Museum, the Getty Research Institute, the Getty Conservation Institute, and the Getty Foundation. The J. Paul Getty Trust and Getty programs serve a varied audience from two locations: the Getty Center in Los Angeles and the Getty Villa in Malibu. The J. Paul Getty Museum collects in seven distinct areas, including Greek and Roman antiquities, European paintings, drawings, manuscripts, sculpture and decorative arts, and photographs gathered internationally. The Museum's mission is to make the collection meaningful and attractive to a broad audience by presenting and interpreting the works of art through educational programs, special exhibitions, publications, conservation, and research. Visiting the Getty Center From May 24–August 30, 2013, the Getty Center is open Tuesday, Wednesday, Thursday and Sunday from 10 a.m. to 5:30 p.m., and Friday and Saturday from 10 a.m. to 9 p.m. It is closed Monday and major holidays.. Admission to the Getty Center is always free. Parking is $15 per car, but reduced to $10 after 5 p.m. for evening events throughout the week. No reservation is required for parking or general admission. Reservations are required for event seating and groups of 15 or more. Please call (310) 440- 7300 (English or Spanish) for reservations and information. The TTY line for callers who are deaf or hearing impaired is (310) 440-7305. The Getty Center is at 1200 Getty Center Drive, Los Angeles, California.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • News from the Getty
    NEWS FROM THE GETTY news.getty.edu | [email protected] DATE: October 29, 2013 MEDIA CONTACT FOR IMMEDIATE RELEASE Amy Hood Getty Communications (310) 440-6427 [email protected] GETTY MUSEUM’S NEWLY ACQUIRED REMBRANDT LAUGHING IS NOW ON VIEW Rembrandt Laughing, about 1628, by Rembrandt Harmensz. van Rijn At the J. Paul Getty Museum, Getty Center LOS ANGELES—The J. Paul Getty Museum’s new acquisition Rembrandt Laughing, about 1628, a recently rediscovered self-portrait by one of the most celebrated painters in history, Rembrandt, will be on view at the Museum beginning Tuesday, October 29, 2013. “The Getty Museum possesses the most significant collection of early Rembrandts in the United States, and if you had asked what addition would best cap it off, the answer would have been a self-portrait, which many regard as his greatest and most sustained achievement. But the chances of finding such a work seemed negligible—until the rediscovery of this painting in 2007. It is unquestionably one of the most Rembrandt Laughing, about 1628. Rembrandt Harmensz. remarkable works of art to become available in van Rijn (Dutch, 1606–1669). Oil on copper. 8 3/4 x 6 5/8 in. J. Paul Getty Museum, Los Angeles. recent memory,” said Timothy Potts, director of the J. Paul Getty Museum. Rembrandt Laughing, about 1628, by Rembrandt Harmensz. van Rijn (Dutch, 1606– 1669) is an early self-portrait, depicting the artist—who would have been about 22—dressed as a soldier, in deep violet and brown clothes and sporting a gleaming steel gorget. The young man leans back, smiles broadly and catches the viewer’s eye.
    [Show full text]
  • Measure for Measure Directed by Amanda Kellock
    The Conseil des arts de Montréal en tournée and Repercussion Theatre present Shakespeare-in-the-Park 2019 Measure for Measure Directed by Amanda Kellock “Some rise by sin, and some by virtue fall.” − Escalus, Measure for Measure Set Design Amy KEITH ▪ Costume Design Diana URIBE ▪ Lighting Design/Tour Manager Adam WALTERS Sound Design Evan STEPANIAN ▪ Movement Coach holly GRECO ▪ Shakespeare Coach Bryan DOUBT Assistant Director Rebecca GIBIAN ▪ Stage Manager Danielle LAURIN With Trevor BARRETTE ▪ Samantha BITONTI Alex GOLDRICH ▪ Colin HEATH ▪ Matthew KABWE Qianna MACGILCHRIST ▪ Anton MAY ▪ Gabriella PETROV ▪ Anne-Marie SAHEB ▪ Nadia VERRUCCI Montreal, May 30, 2019 – For the first time in its 31-year history, Repercussion Theatre is presenting William Shakespeare’s Measure for Measure for its summer tour of Shakespeare-in-the-Park. In collaboration with the CAM en tournée, visiting Montreal and surrounding area parks from July 11 to August 11, 2019. Also a first is that the text which, for the past 3 years has been translated into French and accessible on smartphones for Francophone fans of the Bard, is now available in English as well, enabling Anglophone audiences to follow the artful language, courtesy of Plank Design. “O, what may man within him hide, Though Angel on the outward side…” - Duke Vincentio, Measure for Measure Samantha Bitonti (Isabella). Photo by Valerie Baron. Measure for Measure is one of Shakespeare’s later plays, written at the start of the reign of King James, and around the same year that said monarch began work on his version of the Bible. In the play, the Duke of Vienna, concerned by his city’s moral depravity, puts his sternest deputy, Lord Angelo, in charge.
    [Show full text]
  • Het Binnenste Buiten Liber Amicorum Ter Gelegenheid Van Het Emeritaat
    Het binnenste buiten. Liber amicorum ter gelegenheid van het emeritaat van prof. dr. Aernout H.J. Schmidt, hoogleraar Recht en Informatica te Leiden Mommers, L.; Franken, H.; Herik, H.J. van den; Klaauw-Koops, F.A.M. van der; Zwenne, G.J. Citation Mommers, L., Franken, H., Herik, H. J. van den, Klaauw-Koops, F. A. M. van der, & Zwenne, G. J. (2010). Het binnenste buiten. Liber amicorum ter gelegenheid van het emeritaat van prof. dr. Aernout H.J. Schmidt, hoogleraar Recht en Informatica te Leiden. Leiden: eLaw@Leiden. Retrieved from https://hdl.handle.net/1887/15206 Version: Not Applicable (or Unknown) License: Leiden University Non-exclusive license Downloaded from: https://hdl.handle.net/1887/15206 Note: To cite this publication please use the final published version (if applicable). Het binnenste buiten Liber amicorum ter gelegenheid van het emeritaat van prof. dr. Aernout H.J. Schmidt, hoogleraar Recht en Informatica te Leiden HHet_binnenste_buiten_def.inddet_binnenste_buiten_def.indd 1 224-02-20104-02-2010 17:26:1717:26:17 HHet_binnenste_buiten_def.inddet_binnenste_buiten_def.indd 2 224-02-20104-02-2010 17:26:1817:26:18 Het binnenste buiten Liber amicorum ter gelegenheid van het emiritaat van prof. dr. Aernout H.J. Schmidt, hoogleraar Recht en Informatica te Leiden Redactie: Laurens Mommers Hans Franken Jaap van den Herik Franke van der Klaauw Gerrit-Jan Zwenne HHet_binnenste_buiten_def.inddet_binnenste_buiten_def.indd 3 224-02-20104-02-2010 17:26:1817:26:18 Lay-out: AlphaZet prepress, Waddinxveen © 2010, eLaw@Leiden en de auteurs ISBN-978 90-815196-1-8 Behoudens de in of krachtens de Auteurswet van 1912 gestelde uitzonderingen mag niets uit deze uitgave worden verveelvoudigd, opgeslagen in een geautomatiseerd gegevensbestand, of openbaar gemaakt, in enige vorm of op enige wijze, hetzij elektronisch, mechanisch, door fotokopieën, opna- men of enige andere manier, zonder voorafgaande schriftelijke toestemming van de auteurs.
    [Show full text]
  • Rembrandt's Cologne Self-Portrait, Or The
    Cahiers d’études italiennes 18 | 2014 Novecento… e dintorni Da Torino a Parigi: Laura Malvano storica e critica d’arte The Golden Chain: Rembrandt’s Cologne Self- Portrait, or The Tragicomic Excellence of Painting La Chaîne en or : l’Autoportrait de Rembrandt au Musée de Cologne, ou l’excellence tragicomique de la peinture La Catenella d’oro: l’Autoritratto di Rembrandt al Museo di Colonia ovvero la tragicomica eccellenza della pittura Lorenzo Pericolo Electronic version URL: http://journals.openedition.org/cei/1731 DOI: 10.4000/cei.1731 ISSN: 2260-779X Publisher UGA Éditions/Université Grenoble Alpes Printed version Date of publication: 30 March 2014 Number of pages: 131-147 ISBN: 978-2-84310-268-4 ISSN: 1770-9571 ELECTRONIC REFERENCE Lorenzo Pericolo, “The Golden Chain: Rembrandt’s Cologne Self-Portrait, or The Tragicomic Excellence of Painting”, Cahiers d’études italiennes [Online], 18 | 2014, Online since 30 September 2015, connection on 26 March 2021. URL: http:// journals.openedition.org/cei/1731 ; DOI: https://doi.org/10.4000/cei.1731 © ELLUG 2 THE GoldEN CHAIN: REMBRANDT’S COLOGNE Self-Portrait, OR THE TrAGicomic EXCEllENCE OF PAINTING * Lorenzo Pericolo “Were Democritus still on earth, he would laugh; whether it were some hybrid monster—a panther crossed with a camel—or a white elephant that drew the eyes of the crowd—he would gaze more intently on the people than on the play itself, as giving him more by far worth looking at. But for the authors—he would suppose that they were telling their tale to a deaf ass.” 1 The Laughing Painter Scholars now tend to agree that in the Self-Portrait at the Wallraf-Richartz Museum 2 (Cologne, 1660s) Rembrandt depicted himself as Zeuxis, the * This essay is dedicated to an exceptional woman, Laura Malvano, with whom I had the privilege to work, and from whom I benefitted enormously.
    [Show full text]
  • Chapman CV 2020
    H. PERRY CHAPMAN Department of Art History tel (302) 831-2243 University of Delaware dept (302) 831-8415 318 Old College [email protected] Newark, DE 19716 EDUCATION Princeton University, M.F.A., 1978; Ph.D., 1983. Dissertation: “The Image of the Artist: Roles and Guises in Rembrandt's Self-Portraits.” (advisers: John Rupert Martin and Egbert Haverkamp- Begemann) Swarthmore College, B.A., High Honors, Phi Beta Kappa, 1975. APPOINTMENTS University of Delaware, Department of Art History, Instructor, 1982-83; Assistant Professor, 1983-89; Associate Professor, 1989-97; Professor, 1997-; Interim Chair, 2014-15. Institute of Fine Arts, New York University, Lecturer, Spring 2010. The Art Bulletin, Editor Designate, 1999-2000; Editor-in-Chief, 2000-2004. The American University, Department of Art History, Professorial Lecturer, Spring 1982. Swarthmore College, Art Department, Instructor, Spring 1981. CURATORIAL EXPERIENCE Denver Art Museum and The Newark Museum, Consultant for exhibition Art & Home: Dutch Interiors in the Age of Rembrandt, held in 2001-2002. The National Gallery of Art, Washington, DC, Guest Co-Curator for exhibition Jan Steen: Painter and Storyteller, held at the National Gallery and the Rijksmuseum, Amsterdam, in 1996-1997. FELLOWSHIPS, GRANTS AND AWARDS University of Delaware, Institute for Global Studies, International Travel Award, 2014. Summer Teachers Institute in Technical Art History (STITAH) 2012, Yale University, July 2012 (funded by the Samuel H. Kress Foundation), participant. University of Delaware, General University Research Grant, 2012. John Simon Guggenheim Foundation Fellow, 2004 (held in 2006). Center for Advanced Study in the Visual Arts, Samuel H. Kress Senior Fellow, 2004-2005. National Endowment for the Humanities, Fellowship for University Teachers, 1993-1994.
    [Show full text]
  • Rembrandt's Laughter and the Love of Art*
    REMBRANDT’S LAUGHTER AND THE LOVE OF ART* H. Perry Chapman From the beginning of his career to the end, Rembrandt advertised his ability to represent not just emotions but also more enduring inner states or character traits through expressive self-portraits. This essay argues that through laughter, an unusual expression in a self-portrait, Rembrandt claimed to be an impassioned representer of the passions. To this end, it examines some of his earliest painted and etched self-portraits, his Self-Portrait with Saskia of about 1636, in Dresden, and the late Self-Portrait, in Cologne, all of which feature Rembrandt’s laughing face. It concludes that Rembrandt’s laughter also displays his delight in his mastery of the emotions. DOI: 10.18277/makf.2015.06 embrandt’s early supporters and critics lauded him for his naturalistic rendering of the emotions, which they- called the affecten (passions or motions of the mind). In 1718, in the first extensive biography of Rembrandt, Arnold Houbraken criticized Rembrandt as a breaker of rules, both artistic and social, yet the only work of Rart that Houbraken chose to reproduce in his entire three-volume book of biographies was a drawing of the Supper at Emmaus (fig. 1) that revealed Rembrandt’s “close observation of the various emotions.”1 Rembrandt’s former pupil Samuel van Hoogstraten, writing in 1672, characterized Rembrandt as a master at representing the “movements of the soul.”2 Even before Rembrandt had left Leiden, his earliest champion, Constantijn Huygens, secretary to Stadtholder Frederik Hendrik, had predicted that Rembrandt would be unsurpassed in rendering emotions.
    [Show full text]
  • The Complete Work of Rembrandt
    THIS EDITION IS LIMITED TO seventy-five copies on Japan paper (Edition de luxe) numbered i to j5 AND five hundred copies on Holland paper numbered 76 to 676 COPY N" 95 ALL RIGHTS RESERVED THE COMPLETE WORK OF R E M B R A N D T HISTORY, DESCRIPTION AND HELIOGRAPHIC REPRODUCTION OF ALL THE MASTER'S PICTURES WITH A STUDY OF HIS LIFE AND HIS ART THE TEXT BY WILHELM BODE DIRECTOR OF THE ROYAL GALLERY, RERLIN ASSISTED BY C. HOFSTEDE DE GROOT LATE DIRECTOR OF THE PRINT ROOM, AMSTERDAM MUSEUM FROM THE GERMAN BY FLORENCE SIMMONDS SEVENTH VOLUME CHARLES SEDELMEYER, PUBLISHER 6, RlIE DE LA ROCHEFOUCAULD, 6 1902 NC> XXII PORTRAITS AND STUDIES PAINTED DURING THE LAST YEARS OF THE MASTER 1601 TO 1669 Mntit wDT s bankruptcy, I be X v; loss ol bis home, tile dispersal of bis posses- s ' ons Ois art treasures, ’ and even of bis studies by a forced sale had been 'jjf l a terrible blow for the artist, one to which many a genius even of the more vigorous order would have succumbed. Rembrandt’s art and bis activity were in ^ no wise affected thereby, although the embarassments arising out ol these calamities extended over many years, making heavy ! demands on bis time and patience, and necessarily inducing a certain melancholy ol mood. These years of depression were followed by a period of keener suffering; misfortune and distress pursued the master to bis grave. Rembrandt’s bankruptcy bad not set him free from bis creditors. All be earned belonged to them; they laid claim to everything be painted, and pressed new loans upon him on conditions ever more and more merciless.
    [Show full text]
  • Tables and Indexes Bibliography Corpus VI
    Tables and Indexes Bibliography Corpus VI Adams 1998 Baraude 1933 A.J. Adams (ed.), Rembrandt’s Bathsheba Reading King David’s Letter, H. Baraude, Lopez: agent financier et confident de Richelieu, Paris 1933. Cambridge 1998. Bartsch Amsterdam 1956 A. Bartsch, Catalogue raisonné de toutes les estampes qui forment l’oeuvre de A. van Schendel et al., Rembrandt – tentoonstelling ter herdenking van de Rembrandt, et ceux de ses principaux imitateurs, 2 volumes, Vienna 1797. geboorte van Rembrandt op 15 juli 1606: schilderijen, exhib. cat. Amster- dam (Rijksmuseum) 1956. Bascom 1991 P. Bascom, Rembrandt by himselff, exhib. cat. Glasgow (Glasgow Museums Amsterdam 1991 and Art Galleries) 1991. C. Tümpel et al., Het Oude Testament in de Schilderkunst van de Gouden Eeuw, exhib. cat. Amsterdam (Joods Historisch Museum) 1991. Bauch K. Bauch, Rembrandt: Gemälde, Berlin 1966. Amsterdam 1998 B. van den Boogert et al., Buiten tekenen in Rembrandts tijdd, exhib. cat. Bauch 1933 Amsterdam (Museum Het Rembrandthuis) 1998. K. Bauch, Die Kunst des jungen Rembrandt, Heidelberg 1933. Amsterdam/Groningen 1983 Bauch 1960 A. Blankert et al., The Impact of a Genius. Rembrandt, his Pupils and Fol- K. Bauch, Der frühe Rembrandt und seine Zeit: Studien zur geschichtlichen lowers in the Seventeenth Century, exhib. cat. Amsterdam (Waterman Bedeutung seines Frühstils, Berlin 1960. Gallery) – Groningen (Groninger Museum) 1983. Bauch 1962a Art and Autoradiography K. Bauch, ‘Rembrandts Christus am Kreuz’, Pantheonn 20 (1962), M.W. Ainsworth et al., Art and Autoradiography: Insights into the Genesis of pp. 137-144. Paintings by Rembrandt, Van Dyck, and Vermeer, New York (The Metro- politan Museum of Art) 1982. Bauch 1962b K.
    [Show full text]
  • Dualism and the Critical Languages of Portraiture Evripidis Altintzoglou
    Dualism and the Critical Languages of Portraiture Evripidis Altintzoglou MA, BA (HONS) A thesis submitted in partial fulfilment of the requirements of the University of Wolverhampton for the degree of Doctor in Philosophy September 2010 This work or any part thereof has not previously been presented in any form to the University or to any other body whether for the purposes of assessment, publication or for any other purpose (unless otherwise indicated). Save for any express acknowledgements, references and/or bibliographies cited in the work, I confirm that the intellectual content of the work is the result of my own efforts and of no other person. The right of Evripidis Altintzoglou to be identified as author of the work is asserted in accordance with ss.77 and 78 of the Copyright, Designs and Patents Act 1988. At this date copyright is owned by the author. Signature ………………………………………….. Date ………………………………………………… 1 Abstract This thesis analyzes the philosophical origins of dualism in Western culture in the Classical period in order to examine dualist modes of representation in the history of Western portraiture. Dualism – or the separation of soul and body – takes the form in portraiture of the representation of the head or head and shoulders at the expense of the body, and since its emergence in Classical Greece, has been the major influence on portraiture. In this respect the modern portrait’s commonplace attention to the face rests on the dualist notion that the soul, and therefore the individuality of the subject, rests in the head. Art historical literature on portraiture, however, fails to address the pictorial, cultural and theoretical complications arising from various forms of dualism and their different artistic methodologies, such as that of the physiognomy (the definition of personality through facial characteristics) in the 19th century.
    [Show full text]
  • IS THIS Painting by REMBRANDT? at an IFAR Evening, the Chairman of the Rembrandt Research Project Says “YES”
    International Foundation For Art Research (IFAR) www.ifar.org This article may not be published or printed elsewhere without the express permission of IFAR n EWS & U P DAT E S IS ThIS Painting By REmBRAnDT? AT An IFAR EvEnIng, ThE ChairmAn of ThE REmbrandt Research Project SAyS “yES” It has hardly ever been on view cautious response it became clear since entering the Metropolitan that the world of Rembrandt attri- Museum’s collection, and the butions — or reattributions in this Rembrandt Research Project (the case — is not so simple. RRP) downgraded the work in 1 5 1982 as “an imitation,” but at an The little portrait (8 /8 x 6 ½ IFAR Evening in March devoted inches) on oak panel was to the RRP, the current — and bequeathed to the museum by an very influential — RRP Chair- American collector in 1952 and man, Ernst van de Wetering, accessioned the following year. declared the Met’s small Portrait of It has a distinguished although Rembrandt as a Young Man (FIg. 1) not very old pedigree. Its first to be, in fact, a Rembrandt.2 confirmed recording is in the collection of King Leopold II of Turning to the Met’s Curator Belgium (d.1909),3 and it was later of European Paintings, Walter owned by financier J.P.Morgan. Liedtke, sitting in the audience, But it was on stylistic grounds, and apologizing for not having and not lack of early provenance, FIgure 1. (Self) Portrait of Rembrandt as a 5 Young Man. Oil on oak panel, 8 ⁄8 x 6 ½ in.
    [Show full text]