From Library Journal
Van de Wetering's approach to Rembrandt's painting eschews traditional stylistic analysis and iconographic explication in favor of examining the artist's materials and methods of painting. This technical approach is neatly conjoined with an appreciation of the artistic theory that affected the master's manner. The careful exfoliating of data derived from the laboratory about panels, canvases, underpainting, colors, binders, varnishes, and so forth, along with a subtle exploitation of documentary sources, suggests a useful and fresh approaches to Rembrandtian problems. While a radical new understanding of the master's art does not emerge from this study, the Rembrandt student will be disabused of conventional notions about his painting methods, pictorial construction, use of drawing, and likely original appearance. Advanced art history and museum libraries will need to acquire this important addition to the literature.?Robert Cahn, Fashion Inst. of Technology, New YorkCopyright 1998 Reed Business Information, Inc.


Book Description
Rembrandt's intriguing painting technique has stirred the imagination of art lovers during his lifetime and ever since. In this book, Rembrandt's pictorial intentions and the variety of materials and techniques he applied to create his fascinating effects are unraveled in depth. At the same time, this "archaeology"of Rembrandt's paintings yields information on many other levels. In art-historical research, the work of art as a material object is used increasingly as an important source of information about the painting itself, as well as about historic studio practice in general. The range from practical workshop devices to aesthetic and art-theoretical matters combined in this book offers a view of Rembrandt's daily practice and artistic considerations, while simultaneously providing a more three-dimensional image of the historical artist.


From the Back Cover
"Ernst van de Wetering's wonderful book has taken us further than almost any study over the past twenty years, towards an understanding of the machinery of Rembrandt's genius. . . . No one attempting to write about Rembrandt in the future will be able to do so without taking this fine work into account. It is a really stunning achievement and will change the whole course of Rembrandt studies for many generations." (Simon Schama) "Who would not have wanted to look over Rembrandt's shoulder while he painted? Among the countless books on Rembrandt, that by Ernst van de Weterring comes closest to conveying something of this experience because the author combines the qualifications of a trained connoisseur and of a practising painter." (Ernst Gombrich)


About the Author
Ernst van de Wetering is Professor of Art History at the University of Amsterdam. He has published extensively on historic painting techniques, as well as in the field of theory and ethics of conservation and restoration.

FROM THE PUBLISHER

Rembrandt's intriguing painting technique has stirred the imagination of art lovers during his lifetime and ever since. In this book. Rembrandt's pictorial intentions and the variety of materials and techniques he applied to create his fascinating effects are unravelled in depth. At the same time, this "archaeology" of Rembrandt's paintings yields information on many other levels.

In art-historical research, the work of art as a material object is used increasingly as an important source of information about the painting itself, as well as about historic studio practice in general. The range from practical workshop devices to aesthetic and art-theoretical matters combined in this book, offers a view of Rembrandt's daily practice and artistic considerations, while simultaneously providing a more three-dimensional image of the historical artist in general.

FROM THE CRITICS

Library Journal

Van de Wetering's approach to Rembrandt's painting eschews traditional stylistic analysis and iconographic explication in favor of examining the artist's materials and methods of painting. This technical approach is neatly conjoined with an appreciation of the artistic theory that affected the master's manner. The careful exfoliating of data derived from the laboratory about panels, canvases, underpainting, colors, binders, varnishes, and so forth, along with a subtle exploitation of documentary sources, suggests a useful and fresh approaches to Rembrandtian problems. While a radical new understanding of the master's art does not emerge from this study, the Rembrandt student will be disabused of conventional notions about his painting methods, pictorial construction, use of drawing, and likely original appearance. Advanced art history and museum libraries will need to acquire this important addition to the literature.Robert Cahn, Fashion Inst. of Technology, New York

Julian Bell - London Review of Books

...[A] collection of papers composed over twenty years, coming from various angles at the painter's practice...

Christopher Brown - Times Literary Supplement