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From 1870 to 1935, the 1st actual catalogues raisonnés of Rembrandt's work have been produced, incorporating the result of person connoisseurs' reviews of authenticity and caliber. This publication, the 1st full-length research of this scholarly corpus, concentrates at the written connoisseurship of Wilhelm von Bode, Abraham Bredius, Cornelis Hofstede de Groot, and Wilhelm Valentiner, whose articles and catalogues first formed the trendy notion of Rembrandt as a painter. as well as studying their written paintings, Scallen addresses the social context in their connoisseurial practices, as formed through their museum careers and their relationships with purchasers and collectors.

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After Lautner’s e-book used to be released, Grimm, notwithstanding a expert in Italian paintings, now not Dutch portray, not just gave his public help to Lautner’s thought, he additionally confident one other professor Karl Frey (whom Bode known as Grimm’s “Faktotum”), to give Bode with the call for that the Rem- 116 rembrandt, attractiveness, and the perform of connoisseurship * Scallen V5 02-02-2004 17:01 Pagina 117 (Zwart/Process Black Plaat) brandts within the Berlin assortment be tested heavily to determine in the event that they carried Bol inscriptions. Bode used to be compelled to justify his statement that the “Rembrandt” work less than his care, a few of which he had proudly received for the Berlin assortment, had actually been painted via Rembrandt van Rijn, and never Ferdinand Bol. Bode’s fury over this incident even served as a stimulus for his written assault on then present practices of university-based artwork background, and his advice that any application indirectly affiliated with a big artwork assortment may be dissolved. 38 one of the “Herren Specialisten,” Bode used to be Lautner’s basic adversary, an implicit acknowledgment of the Gemäldegalerie director’s prestige between Rembrandt connoisseurs. 39 it really is both transparent that Bode understood that the conflict over Lautner’s ebook was once additionally directed opposed to him and his Rembrandt scholarship, claiming in his memoir that many had wanted for him to fail subsequently. He credited his luck to the aid of more youthful Dutch artwork historians (including Bredius and Hofstede de Groot) who wrote in his protection and, in his opinion, championed the reality. Bode’s account in Mein Leben additionally bore witness to his feel of betrayal through the German educational institution. In mild of Bode’s propensity to customize scholarly debates, it isn't astonishing that arguments over Lautner’s principles turned heated and individualized, whether Bode didn't fireplace the 1st shot. yet whereas Lautner had supplied a device for Bode’s rivals to attempt to exploit opposed to him, the instrument proved unsound, and inside a 12 months Bode’s recognition was once consolidated instead of weakened, whereas the more youthful Rembrandt specialists additionally received additional prominence. serious reception of Wer ist Rembrandt? Wer ist Rembrandt? was once commonly mentioned within the renowned press, to the dismay or even disgust of Rembrandt students. forty Bode, Bredius, and Hofstede de Groot all weighed in opposed to the publication, but maintained that they wouldn't have even deigned to recognize it had it no longer accomplished any such common or even confident reception. For them, the professionalism of Rembrandt reviews and the sphere of paintings background itself have been at stake, and needed to be defended from the misunderstandings and whims of the general public, in addition to from the amateur’s shoddy paintings itself. Bredius released numerous short discussions of Wer ist Rembrandt? in De Nederlandsche Spectator through the spring of 1891. whereas his tone from the 1st used to be contemptuous and dismissive, after a time a touch of alarm started to who's rembrandt? 117 * Scallen V5 02-02-2004 17:01 Pagina 118 (Zwart/Process Black Plaat) input besides.

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