Rembrandt's intriguing painting technique has stirred the imagination of art lovers during his lifetime and ever since. In this book, Rembrandt's pictorial intentions and the variety of materials and techniques he applied to create his fascinating effects are unraveled in depth. At the same time, this "archaeology"of Rembrandt's paintings yields information on many other levels. In art-historical research, the work of art as a material object is used increasingly as an important source of information about the painting ...
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Rembrandt's intriguing painting technique has stirred the imagination of art lovers during his lifetime and ever since. In this book, Rembrandt's pictorial intentions and the variety of materials and techniques he applied to create his fascinating effects are unraveled in depth. At the same time, this "archaeology"of Rembrandt's paintings yields information on many other levels. In art-historical research, the work of art as a material object is used increasingly as an important source of information about the painting itself, as well as about historic studio practice in general. The range from practical workshop devices to aesthetic and art-theoretical matters combined in this book offers a view of Rembrandt's daily practice and artistic considerations, while simultaneously providing a more three-dimensional image of the historical artist.
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Seller's Description:
Very Good. Size: 9x1x10; 2000 (first) paperback printing. Spine is uncreased, binding tight and sturdy; text, photos, illustrations also very good; minor wear to edges of wraps. Due to the size/weight of this book extra charges will apply for international and/or expedited shipping. Ships from Dinkytown in Minneapolis, Minnesota.
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Seller's Description:
Very Good. Size: 10x9x1; Amsterdam University Press; Amsterdam, 1997. Hardcover. Book is large and heavy, additional shipping cost may apply. A Very Good, black cloth binding with gilt lettering on front board and spine, binding sturdy and intact, some handling marks/shelf wear, bumped bottom spine edge, bit of scattered foxing to text block edges, trace age toning to text block edges and pages, in a Very Good, some handling/scuff marks to panels, bit of edge/corner wear, small creases bottom spine edge, Dust wrapper. A nice, clean and unmarked copy. 4to[quarto or approx. 11.5 x 13.5 inches], 340pp., notes, bibliography, glossary, indexed, color and b&w illustrations. We pack securely and ship daily with delivery confirmation on every book. The picture on the listing page is of the actual book for sale. Additional Scan(s) are available for any item, please inquire.
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Seller's Description:
VG-(A few scratches to wraps, primarily at the spine, and retail stickers on the back) Black illus. wraps; 340 pp.; 331 color and duotone figures. "Rembrandt's intriguing painting technique has stirred the imagination of art lovers during his lifetime and ever since. In this book, Rembrandt's pictorial intentions and the variety of materials and techniques he applied to create his fascinating effects are unravelled in depth. At the same time, this 'archaeology' of Rembrandt's paintings yields information on many other levels. In art-historical research, the work of art as a material object is used increasingly as an important source of information about the painting itself, as well as about historic studio practice in general. The range from practical workshop devices to aesthetic and art-theoretical matters combined in this book, offers a s view of Rembrandt's daily practive and artistic considerations, while simlutaneously providing a mode three-dimensional image of the histiorial artist in general." (back cover).
This excellent book is the result of the research done by the Rembrandt Research Project, which worked over several decades with dozens of museums to physically examine over 200 paintings from across the span of Rembrandt's career using modern analysis techniques. An artist and art historian, Wetering addresses artists, art historians, conservators, and enthusiasts using contemporary writings to help interpret the findings. It is an intelligent and informed discussion about Rembrandt's materials, techniques, and process; their comparison with contemporary practices and how they changed over his career. There is probably too much detail in this book for the casual admirer. But for those with a serious interest in Rembrandt's methods, it is a gold-mine. So much of what we have "known" about Rembrandt's technique has been speculation based upon visual study of the paint surface which has been deceptive. This book attempts to move past speculation to facts supported by the material evidence. This book is well illustrated with many close ups of the features under discussion. It is fairly easy to read, though the level of detail may occasionally rise beyond the interest of the reader.
