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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, understanding that a dead ringer for Rembrandt’s paintings had turn into blurred with time, have tried to redefine the artist’s importance either as a resource of notion to different artists and as an excellent artist in his personal correct. so that it will stick with it the paintings all started by means of past generations, a bunch of major Dutch paintings historians from the collage and museum international joined forces within the past due Sixties as a way to learn afresh the work frequently ascribed to the artist. The researchers got here jointly within the Rembrandt examine venture which was once proven to supply the paintings international with a brand new typical 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 good thing about today’s subtle ideas together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research — thereby gaining precious perception into the genesis and of the work. This quantity (Volume II) comprises 900 pages, beginning of with 5 introductory chapters and discussing one hundred and one work. In transparent and obtainable explanatory textual content all assorted work are mentioned, larded with immaculate photos of every portray. information are proven the place attainable, in addition to the result of modern-day technical imaging.

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In another case, that of the Berlin Samson threatening his father-in-law (Br. 499), the study of cusping played a part in the discussion of the original format of this paintingl2. The matter of the width of the fabric as it came from the loom - or 'strip-width' - has likewise been looked at a few times in connexion with Rembrandt's paintings l3 . Although the significance of the painter's canvas as a source of information has thus not been ignored, one can in general say that the opportunities for incorporating this kind of information in art-history research have scarcely been explored.

During measurements it has been found that, as mentioned earlier, the statistical spread in one direction is often much greater than in the other (cf. table B). In canvases Thread density and weave characteristics of canvases by or attributed to Rembrandt Table A sets out, chronologically, the thread densities of the canvases that Bredius attributes to Rembrandt. The same table also shows the threadcounts of a number of canvases painted by other Dutch artists 45 • One notices in the first place that the thread densities of Rembrandt's canvases fit into the general picture; yet one is struck by the fact that there is a considerable variety in his canvases over a given, short period.

154, 'the distinction between flax and hemp fibres, especially when they are aged and somewhat degraded, is apparently not easy to make' (see also ibidem, note 12). It seems that sailcloth was made of hemp fibres; cf. S. Lootsma, Historische studiiin over de Zaanstreek, Koog aan de Zaan 1950, p. 108, where a hemp-mill ('hennip clopper moolen') is mentioned in connexion with the sail-cloth weavers' trade. Flax was apparently normally used for the finer linens, but the quality of the flax, even the year in which it was harvested and the soil it grew on could determine whether a certain batch offlax was to be used for coarser canvas such as sackcloth (cf.

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A Corpus of Rembrandt Paintings II - 1631–1634 by J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D. Cook-Radmore, L. Peese Binkhorst-Hoffscholte

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