By J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D. Cook-Radmore, L. Peese Binkhorst-Hoffscholte
Because the moment half the final century artwork historians, knowing 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 outstanding artist in his personal correct. so one can stick with it the paintings all started through past generations, a bunch of prime Dutch paintings historians from the collage and museum international joined forces within the overdue Sixties as a way to learn afresh the work frequently ascribed to the artist. The researchers got here jointly within the Rembrandt examine undertaking which used to be demonstrated to supply the paintings global with a brand new common reference paintings which might serve the neighborhood of artwork historians for the close by and lengthy destiny. They tested the originals of all works attributed to Rembrandt taking complete good thing about today’s subtle concepts together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research — thereby gaining useful perception into the genesis and of the work. This quantity (Volume II) includes 900 pages, beginning of with 5 introductory chapters and discussing one zero one work. In transparent and available explanatory textual content all diversified work are mentioned, larded with immaculate photographs of every portray. info are proven the place attainable, in addition to the result of modern-day technical imaging.
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Extra info for A Corpus of Rembrandt Paintings II - 1631–1634
14 penn. ', of which one ca nvas - which Buytewech returned is referred to as costing 3 guilders (P. H. 12, 1894, p. 149). But not all painters reli ed on being abl e to purchase alread y-primed can vases. In one appren ti ce contract priming ca nvases is mentioned among th e tasks the apprentice is to carry out (A. Bredius, Kiinstler-Invenlare V, p. 1482). THE CANVAS SUPPORT TABLE B.
THE CANVAS SUPPORT structure (fig. 2) that is evidently due to a radioabsorbent adhesive used for sticking the new canvas to the paint layer. From descriptions of the usual methods for transferring canvases it is however clear that abrading the layer of ground was not the rule 21 • The occurrence of the exceptions just mentioned to the rule that only the original weave is seen in the radiograph makes one cautious in using threadcounts of old paintings done from the X-rays; but our experience is that these are indeed exceptional cases, and in general the radiograph is a reliable source for studying the fabric.
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. J. A. Boot, 'Het linnenbedrijfin Twente omstreeks 1700', Textielhistorische Bijdragen 7, 1966, pp.