Sold Out
Book Categories |
Preface | X | |
Acknowledgements | XIII | |
I | Introduction: Rembrandt--an Alchemist? | 2 |
Workshop Secrets | 6 | |
The Self-Supporting Studio? | 8 | |
II | Painting Materials and Working Methods of the Young Rembrandt | 10 |
The Support | 11 | |
The Ground | 17 | |
The First Sketch, the Monochrome Underpainting and the First Lay-in of Colour | 23 | |
The 'Working-up' | 32 | |
III | Lost Drawings and the Use of Erasable Drawing Boards and 'Tafeletten' | 46 |
Lost Drawing Excrcises | 48 | |
'Tavolette' | 53 | |
Drawing Tablets in Seventeenth-Century Prints, a False Lead? | 58 | |
'Tafeletten' and 'Tablets a Papier' | 60 | |
Surviving Dutch 'Tafeletten' | 62 | |
IV | The Creation of the Pictorial Idea | 74 |
On the Function of Drawings | 75 | |
The Painting Contest | 81 | |
Rembrandt's Studio Scene and its Art-Theoretical Statement | 87 | |
V | The Canvas Support | 90 |
Introduction | 91 | |
Radiographs as a Means of Studying the Canvas | 93 | |
Historic Sources on the Nature and Origin of Canvas Used by Painters | 95 | |
Thread Density | 96 | |
Problems in Determining the Warp Direction | 97 | |
Thread Density and Weave Characteristics of Canvases by or Attributed to Rembrandt | 100 | |
Interpreting Cusping | 111 | |
Strip Widths and Painting Formats | 123 | |
Some Remarks on the Grounds of Rembrandt's Canvases | 129 | |
VI | The Palette; on the Relationship between Style and Painting Technique | 132 |
Selective Palettes | 136 | |
The Development of the Palette as a Tool | 141 | |
Palettes for the Blue Robe, a White Horse or Human Skin | 144 | |
Technical Limitations | 148 | |
Rembrandt's Use of Limited Palettes and the Concept of 'Houding' | 149 | |
VII | Rembrandt's Brushwork and Illusionism; an Art-Theoretical Approach | 154 |
The Visible Brushstroke | 160 | |
Traditional Formulae and Experimental Developments | 169 | |
Paint Surface and the Evocation of Space | 179 | |
VIII | Rembrandt's Method of Working in the 'Night Watch' and his Late Paintings | 192 |
Doerner's 'Glazing Myth' | 193 | |
The Night Watch | 195 | |
The Late Rembrandt | 203 | |
The Local 'Imprimatura' | 211 | |
Elaborating the Flesh Tints | 215 | |
IX | The Search for Rembrandt's Binding Medium | 224 |
Questioning the Painter's Eye | 225 | |
Questioning the Scientists' Results | 229 | |
A New Effort to 'Break the Code' | 234 | |
Additions to Rembrandt's Paint | 236 | |
X | The Impact of Time and Rembrandt's Ideas on Colour and Tone | 244 |
The Yellowed Varnish and the Different Aging of Paint | 245 | |
Rembrandt's Intentions with Colour and Tone | 251 | |
The Aging of Pigments | 257 | |
The Darkening of Paint and the Etchings as Touchstones | 262 | |
XI | Perspectives on the Quality of Rembrandt's Art | 264 |
Rembrandt, the Famous Painter | 265 | |
Contemporary Praise | 268 | |
The Craftsman and the Artist | 272 | |
Epilogue on Quality | 273 | |
Biographical Data, and Chronological List of Rembrandt's Works Reproduced in this Book | 283 | |
Notes | 292 | |
Bibliography | 312 | |
Glossary | 321 | |
Index | 326 | |
Concordance | 337 | |
Photo Acknowledgements | 340 |
Login|Complaints|Blog|Games|Digital Media|Souls|Obituary|Contact Us|FAQ
CAN'T FIND WHAT YOU'RE LOOKING FOR? CLICK HERE!!! X
You must be logged in to add to WishlistX
This item is in your Wish ListX
This item is in your CollectionRembrandt: The Painter at Work
X
This Item is in Your InventoryRembrandt: The Painter at Work
X
You must be logged in to review the productsX
X
X
Add Rembrandt: The Painter at Work, , Rembrandt: The Painter at Work to the inventory that you are selling on WonderClubX
X
Add Rembrandt: The Painter at Work, , Rembrandt: The Painter at Work to your collection on WonderClub |