New PDF release: Art Market and Connoisseurship: A Closer Look at Paintings
By Anna Tummers, Koenraad Jonckheere
The query even if seventeenthcentury painters reminiscent of Rembrandt and Rubens created the work that have been later bought less than their names, has triggered many a heated debate. a lot remains to be unknown in regards to the ways that work have been produced, assessed, priced, and advertised. for instance, did modern connoisseurs count on masters akin to Rembrandt to color their works completely by way of their very own hand? Who used to be credited having the ability to examine work? How did a painting’s cost relate to its caliber? and the way did connoisseurship switch because the artwork marketplace turned more and more complicated? The individuals to this crucial quantity hint the evolution of connoisseurship within the booming paintings 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 it isn't to be overlooked by means of a person with an curiosity within the outdated Masters and the early glossy artwork industry.
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Extra resources for Art Market and Connoisseurship: A Closer Look at Paintings by Rembrandt, Rubens and Their Contemporaries (Amsterdam Studies in the Dutch Golden Age)
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. Did master painters make further quality distinctions? To what extent were contemporary buyers aware of the different types of studio collaboration? Did painters keep their working methods a secret or were they relatively open about their practices? And is there any evidence that painters or buyers had a special interest in autograph works done by the master alone or was the master’s name indeed merely a guarantee of a certain involvement and quality?
These were pupils training with their ﬁrst or second masters. 63 For example, an elaborate draft statute of the Haarlem painter’s guild dated 1631, uses the terms ‘leerling’ and ‘disciple’ interchangeably to refer to pupils in their ﬁrst three years of training, and distinguishes them sharply from paid assistants or journeymen (in Dutch ‘werckgesel’ or ‘vrije gast’). 64 Interestingly, no seventeenth-century document lists a painting as by a ‘gesel’ or paid assistant of a certain master painter, which to me suggests that their share in the studio production must have commonly counted as ‘by the master’ if it was done in the master’s style.
58 Similar statements can be found in a variety of artistic commissions drawn up throughout Europe, witness, for example, a commission given to the Italian sculptor Bernini by the French minister of State Colbert on 9 December 1669. Bernini was to use students from the newly founded French Academy in Rome in the execution of an equestrian statue of King Louis XIV. indd 40 07-10-2008 16:33:58 AR T MAR KET A ND C ONNOISSEURSHIP 41 Phrases such as ‘the master’s own work’ or work ‘by his hand’ thus denoted a quality distinction.
Art Market and Connoisseurship: A Closer Look at Paintings by Rembrandt, Rubens and Their Contemporaries (Amsterdam Studies in the Dutch Golden Age) by Anna Tummers, Koenraad Jonckheere