Webmuseum Paris Rembrandt Before 1639

Contains a collection of images of paintings by Dutch painter and etcher Rembrandt Harmensz van Rijn (1606-1669) that he created before the year 1639. Includes "The Music Party" (1626), "A Scholar" (1631), "The Anatomy Lecture of Dr. Nicolaes Tulp" (1632), "Descent from the Cross" (1634), and "The Archangel Leaving the Family of Tobias" (1637).

Henry IV. So shaken as we are, so wan with care, Find we a time for frighted peace to pant, And breathe short-winded accents of new broils To be commenced in strands afar remote. No more the thirsty entrance of this soil Shall daub her lips with her own children's blood; Nor more shall trenching war channel her fields, Nor bruise her flowerets with the armed hoofs Of hostile paces: those opposed eyes, Which, like the meteors of a troubled heaven, All of one nature, of one substance bred, Did lately meet in the intestine shock And furious close of civil butchery Shall now, in mutual well-beseeming ranks, March all one way and be no more opposed Against acquaintance, kindred and allies:

Contains images, titles, descriptions, and location information for works painted by Dutch painter and etcher Rembrandt Harmensz van Rijn (1606-1669) during the years 1660-1669. Features "Portrait of a Lady with an Ostrich-Feather Fan" (c.1660), "The Syndics of the Clothmaker's Guild (The Staalmeesters)" (1662), "The Return of the Prodigal Son" (c.1662), "Portrait of an Old Man" (1665), and "Man with a Magnifying Glass" (c.1668).

Rembrandts paintings have been admired throughout centuries because of their artistic freedom. But Rembrandt was also a craftsman whose painting technique was rooted the tradition. Rembrandt—The Painter at Work is the result of a lifelong search for Rembrandt's working methods, his intellectual approach to the art of painting and the way in which his studio functioned. Ernst van de Wetering demonstrates how this knowledge can be used to tackle questions about authenticity and other art-historical issues. Approximately 350 illustrations, half of which are reproduced in colour, make this book into a monumental tribute to one of the worlds most important painters. "The book is—if one may be allowed to say such a thing about a serious scholarly work—a gripping good-read.' Christopher White, The Burlington Magazine "This is a very rich book, a deeply felt analysis of an artist whom the author knows better than almost any other living scholar." Christopher Brown, Times Literary Supplement

My greatest debt in the writing of this book is to my teacher Dr. Ulrich Middeldorf, who taught me the methodology of research in art history, and who guided my studies of art theory and criticism. This study, which in an earlier form was accepted as a doctoral dissertation by the University of Chicago, was begun under Dr. Middeldorf's guidance, and during all stages of its preparation I benefited from his invaluable suggestions and criticism. A United States Government Grant enabled me to complete my researches on Rembrandt in the Netherlands, where I studied at the Rijksuniversiteit te Utrecht with Dr. J.G. van Gelder, who was particularly generous with his knowledge and time. He read the manuscript and proofs, and offered numerous suggestions and additions which have been of great benefit to me. Special acknowledgement is made to the Kunsthistorisch lnstituut der Rijksuniversiteit te Utrecht for generously finding a place for this study in the Utrechtse Bij dragen tot de Kunstgeschiedenis. I am also much indebted to Dr. H. Schulte Nordholt of the Kunsthistorisch lnstituut for his valuable advice and his help inseeing the book through the press.

This richly documented study of copyright in sixteenth-century Venice and Rome provides valuable new information about the "privilegio" and the printers, engravers, painters, mapmakers, and others who used it to protect their commercial interests in various types of printed images.

Rembrandt is revered not only as a painter, but as a supreme master of drawing and etching as well. His work in etching spanned most of his career and embraced the wide range of subjects he pursued in his painting: portraits, landscapes, biblical scenes, pictures with allegorical and mythological themes, and more. This comprehensive collection contains Rembrandt's complete etchings — over 300 works — most of them shown in their original size. They have been reproduced directly from a rare collection famed for its pristine condition, fresh, clean impressions, rich contrasts, and brilliant printing. Among the etchings included are: Self portrait drawing at a window (1648); Abraham's sacrifice (1655); Christ preaching ["The hundred-guilder print"] (ca. 1643–49); Christ crucified between the two thieves ["The three crosses"] (1653); The return of the prodigal son (1636); The three trees (1643); Faust (ca. 1652); Jan Six (1647); The great Jewish bride (1635); The strolling musicians (ca. 1635). The etchings are reproduced from the originals themselves rather than from reduced photographs, which can depart significantly in quality from the originals. This handsome volume is filled with information critical to fully appreciating the extraordinary images it contains. Detailed captions point out features of special interest and provide vital information such as title, signature, date, collection, Bartsch number, state of impression reproduced, and total number of states. Also included are a chronology of Rembrandt's life and etchings, a discussion of the technique of etching in his time, and an excellent bibliography. Art lovers, scholars, students of etching, and anyone with an interest in Rembrandt and his work will find in this beautiful book a rare and exciting visual experience.

After having observed the operations of reconstructive surgery and aesthetic surgery, acclaimed figurative painter Jenny Saville was eager to express the violence and anesthetized pain of this experience in her own work. She and fashion photographer Glenn Luchford thus began an artistic collaboration that captures the full range of color, tonality, and topography of live flesh, in large photographic tableaux that portray Saville's own body. Distortions confront and coerce the viewer into an examination of his or her own body and the grotesqueries and beauties inherent within; the images likewise recall biological specimens preserved, disembodied, and disfigured. The collusion of the art and fashion worlds has produced many hybrids in recent years, yet none perhaps none as intensely striking as this series.