Item description for Rembrandt, Reputation, and the Practice of Connoisseurship by Catherine B. Scallen & Rembrandt Harmenszoon Van Rijn...
From 1870 to 1935, the first true catalogues raisonns of Rembrandt's paintings were produced, incorporating the results of individual connoisseurs' evaluations of authenticity and quality. This book, the first full-length study of this scholarly corpus, concentrates on the written connoisseurship of Wilhelm von Bode, Abraham Bredius, Cornelis Hofstede de Groot, and Wilhelm Valentiner, whose articles and catalogues first shaped the modern conception of Rembrandt as a painter. In addition to analyzing their written work, Scallen addresses the social context of their connoisseurial practices, as shaped by their museum careers and their relationships with dealers and collectors.
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Studio: Amsterdam University Press
Est. Packaging Dimensions: Length: 1.25" Width: 7.25" Height: 9.5" Weight: 2.45 lbs.
Release Date May 15, 2003
Publisher Amsterdam University Press
ISBN 9053566252 ISBN13 9789053566251
Availability 0 units.
More About Catherine B. Scallen & Rembrandt Harmenszoon Van Rijn
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Excellent Book For Specialists Aug 2, 2008
Rembrandt, Reputation, and the Practice of Connoisseurship focuses on a sixty-five year period from 1870 to 1935, when the number of works attributed to Rembrandt's oeuvre grew to a bloated 700 paintings, due in part to market demand for the artist's work, particularly in America. Scallen offers a detailed analysis of the accomplishments and methods of the leading Rembrandt scholars of the period: Wilhelm von Bode, Abraham Bredius, Cornelis Hofstede de Groot, and Wilhelm Valentiner. Scallen shows how the scholarship of all four, though rigorous and sophisticated, was in part influenced by market forces, as the expert attributions they issued (or "expertises") directly affected the value of art works and were, moreover, not issued for free. Scallen provides a sober examination of the Rembrandt literature of the period, including the archival work of Bredius and Hofstede de Groot, the various catalogues raisonnees, and interpretive articles - but, equally interesting, she also captures the personalities of the individual scholars and maps out the ways in which their personal animosities and intellectual turf wars often shaped the intimate details of their work and opinions. In light of the ongoing and controversial endeavors of the Rembrandt Research Project, Scallen's thoroughly documented and historical contextualized study of the attributions made by this earlier generation of experts gives rich food for thought. That said, it is definitely a book for specialists only.