He has published extensively on Rembrandt and historical painting techniques, as well as in the field of theory and ethics of conservation and restoration. Books Journals. Disciplines Art European Art.
About the Book Rembrandt's intriguing painting technique stirred the imaginations of art lovers during his lifetime and has done so ever since.
Search review text. This book has a whole chapter on the thread density in the warp and weft of Rembrandt's canvases. Seriously geeking out stuff. So far my favorite section is "The visible brushstroke," a section that addresses Rembrandt's use of sprezzatura, "the rough manner," that technique which he grew into later in life.
Gotta love it. Wetering soberly demythologizes the romantic view of Rembrandt and gets down to the ground of his processes, methods, and materials. No really, he literally discusses Rembrandt's ground, does chemical analyses that show what sealed his canvases. It's usally a mixture of lead white, some red ochre, quartz, glue and chalk.
Beautifully illustrated and heavy book. Not a light read. It is a rarity among art books in that it focuses primarily in the habits, techniques and studio inner workings of a famous artist instead of the usual historical or symbolic context of the art. This book is exhaustively thorough in its research of studio practices, apprenticeships, preliminary works on tablet, supports, palette, binding materials and painterly technique of Dutch art in the Seventeenth Century and Rembrandt in particular without omitting possible influences and comparisons.
The book seems mostly aimed at restoration experts even though the chemistry and scientific lingo is reduced to a minimum with some serious omissions like the chemical nature of Rembrandt's pigments for example which are mostly mentioned by their common name and period nomenclature but rarely reduced to their chemical origin. A working painter will surely find the chapters on binding, imprimatura and color palette very interesting as well as the evolution of Rembrandt's style from a tight style in stages to a "pittura macchiatta" influenced possibly by Titian or a byproduct of the artists' lengthy experience.
The main "thesis" of the book in my opinion is debunking the merely visual attempts made by many to elucidate the alchemy behind Rembrandt's mysterious techniqu. Israelis work just looks muddy, not particularly compelling in my opinion. Other students of Rembrandt's masterpieces include Reynolds who attributed the lusciousness of Rembrandt's art to an abundant use of wax , a Jacques Maroger who claimed to have come close to the mysterious binding medium a mix of mastic, lead, turpentine and other substances and Max Doerner's, whose thesis regarding the use of glazing and resins seems to be misoriented.
Through the use chromatography the author finds nothing but linseed oil, walnut oil and traces of egg emulsion in the artwork. At the same time, this "archaeology" of Rembrandt's paintings yields information on many other levels and offers a view of Rembrandt's daily practice and artistic considerations while simultaneously providing a more dimensional image of the artist.
Copub: Amsterdam University Press. No one attempting to write about Rembrandt in the future will be able to do so without taking this fine work into account. It is a really stunning achievement and will change the whole course of Rembrandt studies for many generations.
Among the countless books on Rembrandt, that by Ernst van de Weterring comes closest to conveying something of this experience because the author combines the qualifications of a trained connoisseur and of a practising painter. Among the countless books on Rembrandt, that by Ernst van de Wetering comes closest to conveying something of this experience because the author combines the qualifications of a trained connoisseur and of a practising painter.
Convert currency. Add to Basket. Book Description Soft Cover. Condition: new. Seller Inventory More information about this seller Contact this seller. Book Description Condition: New.
Satisfaction Guaranteed! Book is in NEW condition. So the Salzburg painting probably belongs to a series of three small-scale tronies of almost identical size. In the Baroque era — especially the late baroque — painting on copper was very popular because of its smooth, enamel-like character, which produced a quality resembling a miniature. Copper plates give the paint a special luminosity. It therefore seems likely that this small painting was a technical and aesthetic experiment.
He never returned to this technique in his Amsterdam era. The IRR shows sporadic lines of a sketch containing carbon. Most obvious are the two curved lines around the mouth, meeting at a point.
Another rather more prominent, if shorter, line runs obliquely over the hood. The positioning of the lines seems very strange, and at first glance it is unclear what function they serve. Nonetheless, if we look at the two curved lines around the mouth and take the upper line as denoting the intended position of the chin, the upper oblique line of the underdrawing automatically becomes the new lower end of the hood over the forehead. In other words, the figure has been shifted within the pictorial space.
According to the original design, the figure of the praying woman would have been considerably closer to the upper edge of the picture. Why Rembrandt ultimately decided against this version — in which the figure would have appeared more powerful and with more presence — is a matter of conjecture. The dominant dark area of the brown fur mantle would have oversimplified the composition.
0コメント