The query even if seventeenth-century painters corresponding to Rembrandt and Rubens created the work which have been later bought below their names, has brought on 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 equivalent to Rembrandt to color their works completely by means of their very own hand? Who was once credited having the ability to investigate work? How did a painting’s rate relate to its caliber? and the way did connoisseurship swap because the paintings industry grew to become more and more complicated? The members to this crucial quantity hint the evolution of connoisseurship within the booming artwork industry of the 17th- and eighteenth centuries. between them are the well known Golden Age students Eric Jan Sluijter, Hans Van Miegroet and Neil De Marchi. it's not to be overlooked via an individual with an curiosity within the previous Masters and the early sleek paintings 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)
107 ff). 76 However, it seems more accurate to state that among the works that could count as by Rubens’ hand, Carleton picked the works of the highest quality whether these were technically entirely by Rubens’ hand or not. For Carleton did not seem to mind the hand of another master or a specialist assistant; he picked a painting of Prometheus with an eagle by the animal specialist Snyders, as well as a painting of leopards with a landscape by an unnamed specialist. 78 When describing the various pictures to Carleton, Rubens indicated subtle gradations in quality and price among works that all counted as ‘by his hand’.
It is very rare indeed that one can ﬁnd evidence of early connoisseurs weighing arguments when making an attribution. An imaginary dialogue written in 1677 by the Parisian writer and collector Roger de Piles, suggests that some of these early experts may have been quite sophisticated in their judgements. 4 Yet primary sources addressing these issues are scant. 6 Interestingly, the available sources seem rather ambivalent. On the one hand, surviving guild statutes indicate that it was common practice for master painters to sell works produced in collaboration with their studio assistants under their own name, as we will see.
He pointed to the built-up of the paint in the man’s face in The Shipbuilder and His Wife: in the shadow part at right, a relatively thin ﬁrst layer is applied somewhat hesitantly, presumably by an assistant. It is topped by conﬁdent strokes which Grimm identiﬁed as corrections by the master. (ﬁg. 1). By comparison, another group portrait done in the same year, the Anatomy Lesson of Doctor Tulp (1633), does not show a similarly sharp distinction in its built-up; instead, it seems to have been worked up much more coherently and smoothly (ﬁg.
Art Market and Connoisseurship: A Closer Look at Paintings by Rembrandt, Rubens and Their Contemporaries (Amsterdam Studies in the Dutch Golden Age)