By Anna Tummers, Koenraad Jonckheere
The query even if seventeenthcentury painters resembling Rembrandt and Rubens created the work that have been later offered lower than their names, has triggered 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 comparable to Rembrandt to color their works completely via their very own hand? Who used to be credited being able to verify work? How did a painting’s rate relate to its caliber? and the way did connoisseurship switch because the artwork industry grew to become more and more advanced? The individuals to this crucial quantity hint the evolution of connoisseurship within the booming paintings industry 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 it isn't to be ignored through a person with an curiosity within the outdated Masters and the early sleek paintings marketplace.
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Extra info for Art market and connoisseurship : a closer look at paintings by Rembrandt, Rubens and their contemporaries
Would such collaborations have been the rule or the exception? 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.
1536 Thyssen-Bornemisza Collection, Madrid. ANNA TU M M E R S 10. 89 Having a convincing manner and matching brush technique to suggest leaves in painting remained important throughout the century; compare, for example, Jacob van Ruisdael’s hallmark dense foliage with Meindert Hobbema’s airy depiction of leaves, often silhouetted against the sky. However, very few painters (Jacob van Ruisdael being one of the exceptions) combined their speciﬁc manner with botanical accuracy. (ﬁg. 11 and ﬁg. 12) 12.
Do these texts indicate that seventeenth-century connoisseurs were as keen as we are today to recognise the master’s hand or did they have somewhat different priorities? The master’s name and its implications No longer the anonymous craftsmen they had often been in medieval times, in early modern Europe, successful artists were able to gain an increasing amount of fame and independence for themselves. They appeared from behind their works and placed themselves in the foreground, attracting attention to themselves by signing their works, initially, mostly with monograms, and later with their names spelled out in full.
Art market and connoisseurship : a closer look at paintings by Rembrandt, Rubens and their contemporaries by Anna Tummers, Koenraad Jonckheere