By J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D. Cook-Radmore, L. Peese Binkhorst-Hoffscholte
Because the moment 1/2 the final century paintings historians, knowing that a dead ringer for Rembrandta (TM)s paintings had develop into blurred with time, have tried to redefine the artista (TM)s importance either as a resource of thought to different artists and as a very good artist in his personal correct. so as to stick with it the paintings began via earlier generations, a gaggle of top Dutch artwork historians from the college and museum international joined forces within the past due Sixties which will examine afresh the work frequently ascribed to the artist. The researchers got here jointly within the Rembrandt examine venture which was once confirmed to supply the paintings global with a brand new usual reference paintings which might serve the group of paintings historians for the within reach and lengthy destiny. They tested the originals of all works attributed to Rembrandt taking complete benefit of todaya (TM)s refined innovations together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research a « thereby gaining useful perception into the genesis and of the work. the results of this meticulous study is laid down chronologically within the following Volumes: THIS quantity: A Corpus of Rembrandt work, quantity I, which bargains with works from Rembrandta (TM)s early years in Leiden(1629-1631), released in 1982. A Corpus of Rembrandt work, quantity II, masking his first years in Amsterdam (1631-1634), released in 1986. A Corpus of Rembrandt work, quantity III, is going into his later years of recognition (1635-1642), released in 1990. each one quantity includes a couple of Introductory Chapters in addition to the whole Catalogue of all work from the given period of time attributed to Rembrandt. during this catalogue every one portray is mentioned and tested in an in depth manner, comprising a descriptive, an interpretative and a documentary part. For the authenticity overview of the work 3 diversified different types are used to divide the works in: A. work by way of Rembrandt, B. work of which Rembrandta (TM)s authorship can't be absolutely both permitted or rejected, and C. work of which Rembrandta (TM)s authorship can't be authorized. This quantity (Volume I) comprises 730 pages, beginning of with 4 introductory chapters and discussing ninety three work. In transparent and available explanatory textual content all varied work are mentioned, larded with immaculate pictures of every portray. information are proven the place attainable, in addition to the result of modern-day technical imaging. during this quantity the 1st ever works via Rembrandt are mentioned, additionally utilizing his etchings as comparability.
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Additional info for A Corpus of Rembrandt Paintings I - 1625–1631
A painter did not make his own panels. Manufacturing panels was a craft that can be shown to have been a prerogative of the joiners' and cabinetmakers' guild. This had obviously been so selfevident that it was not stated explicitly in the charter of the guild in Leiden. At precisely the time that Rembrandt was working in Leiden, however, the joiners' and cabinetmakers' guild felt itselfforced, in 1627, to lodge a request with the Leiden authorities for its charter to be extended to include this right.
At that time one Jan Pietersz. van den Bosch, a woodturner by trade, who was not a member of the guild, had become active in the making and selling of panels; the guild obviously needed the regulations changed to prevent him 1o . Most probably there were still at this time no middlemen in Leiden in the trade between the producers and users of panels. This one sees from a petition to the Leiden authorities by Leender Hendricx Volmarijn of Rotterdam in 1643, to be allowed to open a shop in the town to sell paintings and artist's materials l l .
In an earlier stage of the composition this figure (like that in the Simeon in the Temple) stood out against a light background, but in addition to this Judas was, in the first version, counterbalanced by a figure set somewhat higher up to the left, and the light fell behind and along a curtain, which formed a dark repoussoir. Both this latter motif and the diagonal spatial relationship between the principal figures put the original form of the composition very close to that of the Old men disputing of 1628, making it even more likely that the Judas repentant was started in that year.