Rembrandt/ Not Rembrandt: In The Metropolitan Museum of Art - Aspects of Connoisseurship (two volume set) (Metropolitan Museum of Art Series) - Softcover

Von Sonnenburg, Hubert; Sonnenburg, Hubert Von

9780300086607: Rembrandt/ Not Rembrandt: In The Metropolitan Museum of Art - Aspects of Connoisseurship (two volume set) (Metropolitan Museum of Art Series)

Softcover

ISBN 10: 0300086601 ISBN 13: 9780300086607

Publisher: Metropolitan Museum of Art, 1995

Volume I by Huber tvon Sonnenburg Volume II by Walter Liedtke, Carolyn Logan, Nadine M. Orenstein, and Stephanie S. DickeyThe Metropolitan Museum of Art possesses one of the most significant groups of paintings, drawings, and etchings by the Rembrandt, his pupils, and imitators. This publication accompanied the 1996 exhibition at the Museum and includes every painting by Rembrandt in the Metropolitan's collection, as well as all the Museum's pictures once thought to be by the master but now recognized, generally or at least by the writers, as works by pupils, contemporary followers, or later imitators. A selection of the Museum's drawings and prints by Rembrandt and these artists is also presented. In addition, there is a section devoted to a number of the Museum's paintings by the master's former pupils that have always been recognized as independent works. Volume I: Paintings: Problems and Issues. 160 pages, 186 illustrations (65 in full color), 9'' x 12'' Paper. Volume II: Paintings, Drawings, and Prints: Art-Historical Perspectives. 272 pages, 232 illustrations (49 in full color), 9'' x 12''. Paper.

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From Library Journal:

The apparently never-ending attempt to define Rembrandt's oeuvre is here pursued with unprecedented candor. Thus in the first volume of this handsomely produced exhibition catalog we find a scientific and technical approach to assigning authorial responsibility to Rembrantesque paintings in the Metropolitan Museum of Art, while in the second volume the museum's Rembrandtian holdings of paintings, drawings, and prints are scrutinized and attributed from a more strictly art historical and connoisseurship perspective. The apparent limitations of both methodologies are manifested in the less-than-perfect consonance of the paintings' attributions. However, these discrete investigations will illuminate, if not the precise nature of the master's achievement, then the prevailing strategies by which an artist's canon may be assayed. Art collections, scholarly and otherwise, should welcome this intelligent contribution to the not always fruitful quest of this illusive genius.?Robert Cahn, Fashion Inst. of Technology, New York
Copyright 1996 Reed Business Information, Inc.

From Book News:

A two-volume catalogue issued to accompany an exhibition at the NY Metropolitan Museum of Art of all of the Museum's paintings by Rembrandt as well as pictures once thought to be by the master but now recognized as the efforts of his pupils, contemporary followers, and the occasional later imitator. In volume I, Paintings: Problems and Issues, the focus is exclusively on paintings, with discussion of both technical and art-historical support for various opinions and elucidation of modern methods of examining the physical properties of paintings. Volume II, Paintings, Drawings, and Prints, addresses the connoisseurship of drawings and prints as well as of paintings, and assumes a more purely art-historical perspective. Following the main essay on Rembrandt's pupils and followers, entries on each work in the exhibition present opinions on issues of attribution. Annotation copyright Book News, Inc. Portland, Or.

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