The query even if seventeenth-century painters similar to Rembrandt and Rubens created the work which have been later offered lower than their names, has brought on many a heated debate. a lot remains to be unknown concerning the ways that work have been produced, assessed, priced, and advertised. for instance, did modern connoisseurs anticipate masters akin to Rembrandt to color their works solely via their very own hand? Who was once credited having the ability to check work? How did a painting’s expense relate to its caliber? and the way did connoisseurship swap because the artwork marketplace grew to become more and more complicated? The individuals to this crucial quantity hint the evolution of connoisseurship within the booming artwork industry of the 17th- and eighteenth centuries. between them are the well known Golden Age students Eric Jan Sluijter, Hans Van Miegroet and Neil De Marchi. it isn't to be overlooked by means of someone with an curiosity within the outdated Masters and the early glossy paintings marketplace.
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Additional info for Art Market and Connoisseurship: A Closer Look at Paintings by Rembrandt, Rubens and Their Contemporaries (Amsterdam Studies in the Dutch Golden Age)
The exact extent of collaboration in Rembrandt’s studio remains an issue of much debate. On the one hand, a number of specialists believe that Rembrandt tended to distinguish rather sharply between his own paintings and those done by students and assistants, and that he would have priced them accordingly (even though he may have also sold non-autograph works as ‘Rembrandts’). In particular Josua Bruijn stated that Rembrandt hardly ever collaborated with his pupils and assistants on the same composition, and Ernst van de Wetering wrote that such collaborations occur almost exclusively in portraits created before 1642.
Indd 34 07-10-2008 16:33:57 AR T MAR KET A ND C ONNOISSEURSHIP 35 1. 2. 3. 1. Rembrandt, see colorplate p. 177 (entire painting) The Shipbuilder and his Wife [detail], 1633 The Royal Collection, Her Majesty Queen Elisabeth II, London 2. Rembrandt, see colorplate p. 178 (entire painting) The Anatomy Lesson of Doctor Tulp [detail] 1633, Royal Cabinet of Paintings The Mauritshuis, The Hague 3. Rembrandt, see colorplate p. 178 (entire painting) Portrait of the Preacher Johannes Uyttenbogaert [detail] 1633, Rijksmuseum, Amsterdam seventeenth-century painters and connoisseurs would have thought about issues of authenticity all the more relevant.
Gerrit van Honthorst, see colorplate p. 180 Allegory on the Marriage of Frederik Hendrik and Amalia van Solms,1651 Oranjezaal, Huis ten Bosch 5. Gerrit van Honthorst, see colorplate p. 180 Wiliam II’s Reception of Mary Stuart upon her Arrival in the Netherlands, 1649 Oranjezaal, Huis ten Bosch 6. Gerrit van Honthorst, see colorplate p. indd 45 07-10-2008 16:33:58 46 ANNA TU M M E R S Seventeenth-century insights as to attributing pictures Studio practices and signing habits are of course crucial when trying to recognise the master’s hand and to attribute seventeenth-century pictures.
Art Market and Connoisseurship: A Closer Look at Paintings by Rembrandt, Rubens and Their Contemporaries (Amsterdam Studies in the Dutch Golden Age)
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