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Rembrandt`s Bankruptcy, Paul Crenshaw



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Автор: Paul Crenshaw
Название:  Rembrandt`s Bankruptcy
Перевод названия: Банкротство Рембрандта
ISBN: 9780521858250
Издательство: Cambridge Academ
Классификация:
ISBN-10: 0521858259
Обложка/Формат: Hardback
Страницы: 236 pages, Illustrat
Вес: 0.688 кг.
Дата издания: 20/02/2006
Язык: English
Иллюстрации: Illustrations
Размер: 26.16 x 18.44 x 1.68 cm
Читательская аудитория: Professional & Vocational
Подзаголовок: The artist, his patrons, and the art market in seventeenth-century netherlands
Ссылка на Издательство: Link
Рейтинг:
Поставляется из: Англии
Дополнительное описание: 1. Bankruptcy and Rembrandt’s critical fortune; 2. The perils of the Dutch art market; 3. The foundation of Rembrandt’s financial problems; 4. Rembrandt’s house on the Breestraat; 5. Rembrandt’s collecting habit; 6. Rembrandt’s disputes with his patrons;




A Corpus of Rembrandt Paintings Vol. 5

Автор: Ernst van de Wetering (Ed.)
Название: A Corpus of Rembrandt Paintings Vol. 5
ISBN: 1402046073 ISBN-13(EAN): 9781402046070
Издательство: Springer
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Цена: 138485 р.
Наличие на складе: Поставка под заказ.

Описание: In October 2010 the fifth volume will appear of A CORPUS OF REMBRANDT PAINTINGS, which will consist of six volumes in total. The CORPUS is dedicated to the painted works of Rembrandt. It aims to isolate Rembrandt’s own works from the great volume of Rembrandt-like paintings, produced by his many pupils and followers, sometimes with the involvement of the master himself. The fourth volume (Springer 2005) was dedicated to Rembrandt’s self portraits. This fifth volume is about the small-scale history and genre paintings. The so-called ‘histories’ (paintings, etchings and drawings with biblical or mythological scenes) were considered to be the most challenging assignments for an artist. All kinds of artistic insights and skills – known in Rembrandt’s time as the basic aspects of the art of painting - played a role in the creation of this kind of work, especially in the history paintings. Systematic research into this hitherto little known area has revealed a rich, and often fresh understanding of Rembrandt’s own way of thinking about these basic aspects, which makes the present volume a unique and innovative contribution to the history of art. A detailed comparison of Rembrandt’s own work with that of his pupils has furthermore provided a detailed access to Rembrandt’s own criteria regarding artistic quality.


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