The query even if seventeenth-century painters similar to Rembrandt and Rubens created the work which have been later offered less than their names, has prompted many a heated debate. a lot continues 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 reminiscent of Rembrandt to color their works solely by way of their very own hand? Who used to be credited being able to verify work? How did a painting’s expense 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 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 it's not to be ignored by means of somebody with an curiosity within the outdated Masters and the early smooth artwork marketplace.
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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)
51 However, this passage is so unspeciﬁc – Junius contrasts originals by masters and copies by pupils in a very general way, without mentioning any other type of painting – that the reasoning becomes circular: if ‘original’ implied that a picture was autograph, then the occasional use of the term would illustrate that there was an interest in purely autograph pictures. indd 39 07-10-2008 16:33:57 40 ANNA TU M M E R S some originals may have been purely autograph. However, before discussing the questions of how common it may have been for painters to create purely autograph works and if connoisseurs and art theorists had a particular preference for these, I will ﬁrst look more closely at the distinction made between masterpieces and works by pupils.
182 (entire painting) Henry VIII, [detail], c. 1536 Thyssen-Bornemisza Collection, Madrid. ANNA TU M M E R S 10. 89 Having a convincing manner and matching brush technique to suggest leaves in painting remained important throughout the century; compare, for example, Jacob van Ruisdael’s hallmark dense foliage with Meindert Hobbema’s airy depiction of leaves, often silhouetted against the sky. However, very few painters (Jacob van Ruisdael being one of the exceptions) combined their speciﬁc manner with botanical accuracy.
4. 5. 6. 4. Gerrit van Honthorst, see colorplate p. 180 Allegory on the Marriage of Frederik Hendrik and Amalia van Solms,1651 Oranjezaal, Huis ten Bosch 5. Gerrit van Honthorst, see colorplate p. 180 Wiliam II’s Reception of Mary Stuart upon her Arrival in the Netherlands, 1649 Oranjezaal, Huis ten Bosch 6. Gerrit van Honthorst, see colorplate p. indd 45 07-10-2008 16:33:58 46 ANNA TU M M E R S Seventeenth-century insights as to attributing pictures Studio practices and signing habits are of course crucial when trying to recognise the master’s hand and to attribute seventeenth-century pictures.