By Anna Tummers, Koenraad Jonckheere
The query even if seventeenthcentury painters reminiscent of Rembrandt and Rubens created the work which have been later bought below their names, has brought on many a heated debate. a lot continues to be unknown in regards to the ways that work have been produced, assessed, priced, and advertised. for instance, did modern connoisseurs anticipate masters similar to Rembrandt to color their works fullyyt by way of their very own hand? Who was once credited having the ability to determine work? How did a painting’s rate relate to its caliber? and the way did connoisseurship switch 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 paintings marketplace of the 17th- and eighteenth centuries. between them are the popular Golden Age students Eric Jan Sluijter, Hans Van Miegroet and Neil De Marchi. it isn't to be ignored through an individual with an curiosity within the previous Masters and the early smooth artwork industry.
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Additional resources for Art Market and Connoisseurship: A Closer Look at Paintings by Rembrandt, Rubens and Their Contemporaries (Amsterdam Studies in the Dutch Golden Age)
2). This led Grimm to conclude that Rembrandt sometimes, but not always, had assistants execute the general building-up of the top layer, while adding the light and shadow parts himself. In a third example taken from the same year, Rembrandt’s Portrait of the Remonstrant Minister Johannes Uytenbogaert (ﬁg. 3), Grimm pointed out the differences in style and execution between Uytenbogaert’s face and the deﬁnition of the hands. 17 What should we conclude from all this? Would such collaborations have been the rule or the exception?
However, Van Mander deserves to sign the work as an ‘original’ (principael), since he is responsible for the most impressive part: a crown of pearls on Pittura’s head. 35 Admittedly, a lot of research remains to be done as to speciﬁc master’s studio habits. However, on the basis of the available evidence, we can already conclude that the master’s signature could function as a ‘trademark’, a ‘logo of a studio style’ or even as a ‘brand name’, in the terms coined by Svetlana Alpers, Ann Jensen Adams, Koenraad Jonckheere and Tine Nygaard respectively (see also Koenraad Jonckheere’s essay, pp.
37 But if a painter’s name did not guarantee that the work was executed by the master himself, then how did seventeenth-century painters and connoisseurs classify different types of studio products? Did seventeenth-century painters and their public differentiate between various types of studio products? And what role, if any, did signatures play in this respect? Distinctions in seventeenth-century inventories and notarial deeds Seventeenth-century inventories and notarial deeds give a fairly coherent view of seventeenth-century categories of thought.
Art Market and Connoisseurship: A Closer Look at Paintings by Rembrandt, Rubens and Their Contemporaries (Amsterdam Studies in the Dutch Golden Age) by Anna Tummers, Koenraad Jonckheere