Rembrandt: The Painter at Work,9780520226685

Rembrandt: The Painter at Work

by
ISBN13: 9780520226685
ISBN10: 0520226682
Format: Paperback
Pub. Date: 2000-09-01
Publisher(s): Univ of California Pr
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Summary

This book is about how Rembrandt's paintings came into being. Motivated by the question, "Is every Rembrandt a Rembrandt?"the author explores the process by which the artist created his masterpieces, from the myth of the self-supporting studio, to the mechanics of canvas supports and panels, to colors and brush strokes.

Author Biography

Ernst van de Wetering (1938) was trained as an artist at the Royal Academy of Fine Arts in The Hague.

Table of Contents

Preface x
Acknowledgements xiii
Introduction: Rembrandt-an Alchemist?
2(8)
Workshop Secrets
6(2)
The Self-Supporting Studio?
8(2)
Painting Materials and Working Methods of the Young Rembrandt
10(36)
The Support
11(6)
The Ground
17(6)
The First Sketch, the Monochrome Underpainting and the First Lay-in of Colour
23(9)
The `Working-up'
32(14)
Lost Drawings and the Use of Erasable Drawing Boards and `Tafeletten'
46(28)
Lost Drawing Exercises
48(5)
`Tavolette'
53(5)
Drawing Tablets in Seventeenth-Century Prints, a False Lead?
58(2)
`Tafeletten' and `Tablets a Papier'
60(2)
Surviving Dutch `Tafeletten'
62(12)
The Creation of the Pictorial Idea
74(16)
On the Function of Drawings
75(6)
The Painting Contest
81(6)
Rembrandt's Studio Scene and its Art-Theoretical Statement
87(3)
The Canvas Support
90(42)
Introduction
91(2)
Radiographs as a Means of Studying the Canvas
93(2)
Historic Sources on the Nature and Origin of Canvas Used by Painters
95(1)
Thread Density
96(1)
Problems in Determining the Wrap Direction
97(3)
Thread Density and Weave Characteristics of Canvases by or Attributed to Rembrandt
100(11)
Interpreting Cusping
111(12)
Strip Widths and Painting Formats
123(6)
Some Remarks on the Grounds of Rembrandt's Canvases
129(3)
The Palette; on the Relationship between Style and Painting Technique
132(22)
Selective Palettes
136(5)
The Development of the Palette as a Tool
141(3)
Palettes for the Blue Robe, a White Horse or Human Skin
144(4)
Technical Limitations
148(1)
Rembrandt's Use of Limited Palettes and the Concept of `Houding'
149(5)
Rembrandt's Brushwork and Illusionism; an Art-Theoretical Approach
154(38)
The Visible Brushstroke
160(9)
Traditional Formulae and Experimental Developments
169(10)
Paint Surface and the Evocation of Space
179(13)
Rembrandt's Method of Working in the `Night Watch' and his Late Paintings
192(32)
Doerner's Glazing Myth'
193(2)
The Night Watch
195(8)
The Late Rembrandt
203(8)
The Local `Imprimatura'
211(4)
Elaborating the Flesh Tints
215(9)
The Search for Rembrandt's Binding Medium
224(20)
Questioning the Painter's Eye
225(4)
Questioning the Scientists' Results
229(5)
A New Effort to `Break the Code'
234(2)
Additions to Rembrandt's Paint
236(8)
The Impact of Time and Rembrandt's Ideas on Colour and Tone
244(20)
The Yellowed Varnish and the Different Aging of Paint
245(6)
Rembrandt's Intentions with Colour and Tone
251(6)
The Aging of Pigments
257(5)
The Darkening of Paint and the Etchings as Touchstones
262(2)
Perspectives on the Quality of Rembrandt's Art
264(19)
Rembrandt, the Famous Painter
265(3)
Contemporary Praise
268(4)
The Craftsman and the Artist
272(1)
Epilogue on Quality
273(10)
Biographical Data, and Chronological List of Rembrandt's Works Reproduced in this Book 283(9)
Notes 292(20)
Bibliography 312(9)
Glossary 321(5)
Index 326(11)
Concordance 337(3)
Photo Acknowledgements 340

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