Article

Rembrandt van Rijn

Catherine Scallen and Amy Frederick

in Art History

ISBN: 9780199920105
Published online October 2016 | | DOI: https://dx.doi.org/10.1093/obo/9780199920105-0098
Rembrandt van Rijn

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Rembrandt van Rijn (b. 1606–d. 1669) is an artist as renowned today as in his own era. As a self-taught etcher, he was among the most innovative printmakers of the 17th century. As a painter and draughtsman, he largely used conventional materials and techniques, but he often pushed these media to their limits—with his manipulation of thickly applied paint or with his split-reed pens. Rembrandt’s early fame is demonstrated through the dissemination of his paintings and prints in England and other European countries from the 1630s onward. Changing tastes, and his apparently difficult personality, led to a decline in patronage after 1650, yet his stature was recognized through commissions and literary citations up to his death in 1669 and beyond. Although he had a substantial income during much of his career, he did not manage his money well and was buried in a pauper’s grave in Amsterdam’s Westerkerk in 1669. His art was nonetheless cherished and collected in succeeding centuries, and by the late 19th century he was the most popular Old Master painter among private art collectors. Rembrandt’s art has had an unusual ability to sustain attention over time. He had one of the largest workshops in The Netherlands, and many painters of note spent time in his workshop as beginning students or, more often, in a kind of postgraduate assistantship. Questions of how the workshop was organized and whether Rembrandt, like Rubens, collaborated with his assistants on paintings have been major subjects in Rembrandt scholarship, and are still unresolved. Another topic of continued investigation is the examination of his materials and techniques, often in service of determining the attribution of paintings. No other artist has been the subject of a government-funded study of attribution, in which a group of experts examined details of his work as the Rembrandt Research Project has done, and the conclusions of this project have stimulated debate for over forty years. In addition to the search for Rembrandt’s individual style, the thematic popularity of his art has been responsible for an extraordinary number of exhibitions devoted to different aspects of his art; the catalogues of these exhibitions often contain important contributions to the Rembrandt literature, and have helped to establish the exhibition catalogue as a form of scholarly inquiry for the study of Dutch art. Rembrandt studies continue to be dynamic, and further research into the function of Rembrandt’s drawings and etchings, as well as additional material made accessible through online sources, will sustain interest in his art for years to come.

Article.  21506 words. 

Subjects: History of Art

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