Read e-book online Art Market and Connoisseurship: A Closer Look at Paintings PDF


The query even if seventeenth-century painters reminiscent of Rembrandt and Rubens created the work which have been later offered below their names, has brought on many a heated debate. a lot continues to be unknown concerning the ways that work have been produced, assessed, priced, and advertised. for instance, did modern connoisseurs anticipate masters similar to Rembrandt to color their works fullyyt via their very own hand? Who was once credited being able to verify 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 marketplace 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 isn't to be neglected by way of an individual with an curiosity within the previous Masters and the early glossy 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)

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Indd 33 07-10-2008 16:33:57 34 ANNA TU M M E R S worked in close collaboration with their studio all the more easily since many art buyers could not easily recognise poor quality pictures. At the Berlin conference Claus Grimm also addressed this issue - the scholar who had not only sparked the Frans Hals attribution debate in 1990 but who had also just published a book on Rembrandt’s portraits (1991) in which he narrowed down the selection of autograph works even further than the Rembrandt Research Project had done.

And did they care to distinguish workshop assistance? 85 Most early writers on connoisseurship believed that a painter’s characteristic manner could best be recognised in areas that are executed with a certain boldness and resolution. Such areas were seen as particularly hard to imitate, which also explained why paintings done in a bold or free manner were more easily distinguished from copies than pictures done in a very precise and fine manner. As a general rule of thumb, the painter’s characteristic handwriting was to be found in those passages in which the painter did not follow nature too closely but relied on his imagination and inborn talents.

Although it may not be possible to reconstruct exactly where a seventeenth-century master would have drawn the line, the quality of ‘pupil work’ must have contrasted with the usual quality of pictures sold under the master’s name. indd 41 07-10-2008 16:33:58 42 ANNA TU M M E R S Further distinctions: a preference for autograph pictures? The fact that various types of studio collaborations – though certainly not all studio products – could leave the studio under the master’s name, raises the question of whether these then all enjoyed a similar value.

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