Rembrandt is respected not just as a painter, yet as a ideal grasp of drawing and etching in addition. His paintings in etching spanned such a lot of his occupation and embraced the wide variety of topics he pursued in his portray: graphics, landscapes, biblical scenes, photos with allegorical and mythological topics, and extra. This complete assortment comprises Rembrandt's whole etchings — over three hundred works — proven of their unique measurement. they've been reproduced at once from an extraordinary assortment famed for its pristine , clean, fresh impressions, wealthy contrasts, and extraordinary printing.
Among the etchings incorporated are: Self portrait drawing at a window (1648); Abraham's sacrifice (1655); Christ preaching ["The undered-guilder print"] (ca. 1643–49); Christ crucified among the 2 thieves ["The 3 crosses"] (1653); The go back of the prodigal son (1636); The 3 timber (1643); Faust (ca. 1652); Jan Six (1647); The nice Jewish bride (1635); The jogging musicians (ca. 1635).
The etchings are reproduced of their genuine dimension instead of from diminished images, which could go away considerably in caliber from the originals. Fourteen oversize etchings, reproduced in relief contained in the booklet, also are integrated at complete measurement on 3 sheets positioned in a pocket behind the book.
This good-looking quantity is stuffed with info severe to totally appreciating the extreme photos it includes. specified captions indicate gains of unique curiosity and supply important details comparable to name, signature, date, assortment, Bartsch quantity, kingdom of influence reproduced, and overall variety of states. additionally incorporated are a chronology of Rembrandt's lifestyles and etchings, a dialogue of the means of etching in his time, and a very good bibliography. artwork enthusiasts, students, scholars of etching, and an individual with an curiosity in Rembrandt and his paintings will locate during this appealing publication a unprecedented and intriguing visible experience.
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From the dirt jacket:
In his seek for the universal hyperlink among
literature and the visible arts. Professor Praz
draws upon the considerable proof of lengthy
mutual figuring out and correspondence be
tween the sister alts even if parallels of
theme and suggestion are abundant, be is now not
primarily involved with those. quite, he
examines the shut courting or air de fanulle
between the expression of the arts m any given
Each epoch has “ its bizarre handwriting
or handwritings, which, if one may perhaps interpret
them, may exhibit a personality, even a physi
cal visual appeal. ” even supposing handwriting is
taught and a few of its features hence
belong to the normal type of the interval, the
personality of the author does no longer fail to pierce
through. whatever of the comparable variety, the au
thor proposes, happens in artwork. The kinship of
literature and portray rests on this circum
stance: a paintings of artwork, even if visible or liter
ary, needs to use the unique “ handwriting” of
its specific age, even as its originality pierces
through this handwriting.
The likeness among the arts inside of a variety of
periods o f background can finally be traced,
then, to structural similarities— similarities
that come up out of the attribute means in
which the humans of a sure epoch see and
memorize proof aesthetically. Mnemosyne, at
once the goddess of reminiscence and the mom
of the muses, accordingly presides over this view
of ihe arts. In illustrating her iniluence. Pro
fessor Praz levels commonly via Western
sources, either literary and pictorial. There are
1 2 1 illustrations accompanying the text.
M A R IO P R A Z is Professor of English Lan
guage and Literature at the collage of
Rome. His past books comprise The Roman
tic pain, stories in Seventeenth-Century
imagery, and The Flaming Heart.
ackct layout through P J. Conkwright
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Additional info for The Complete Etchings of Rembrandt: Reproduced in Original Size (Dover Fine Art, History of Art)
Rembrandt f. was once by no means used as a signature sooner than 1633, and should point out that the 10th kingdom was once now not reached till that 12 months or later. B eight Self portrait with lengthy furry hair: head in basic terms. moment kingdom of six. Amsterdam. approximately 1631. B9 Self portrait, leaning forward,listening. in basic terms country. Amsterdam. approximately 1628. B 10 Self portrait, frowning: bust. moment nation of 3. Haarlem. within the first nation signed and dated RHL 1630. The strains crossing the plate have been burnished out within the 3rd kingdom. B eleven The artist’s son, Titus [1641 - 68]. in basic terms kingdom. published with floor tone. Amsterdam. approximately 1656. Titus was once the single baby of Rembrandt and Saskia to survive infancy, and he too died earlier than his time. This plate used to be previously thought of a self portrait, and for this reason dated approximately 25 years past. B 12 Self portrait in a fur cap, in an oval border: bust. purely kingdom. Amsterdam. approximately 1629. one among 4 surviving impressions, of that are on higher paper than this one. B thirteen Self portrait open-mouthed, as though shouting: bust. moment country of 3. Signed and dated RHL 1630. Amsterdam. The diagonal scratch within the top correct used to be got rid of within the 3rd kingdom. B 15 Self portrait in a cloak with a falling collar: bust. moment kingdom of 5. Signed and dated RHL 1631. Haarlem. The date used to be altered from 1630 to 1631. B sixteen Self portrait in a heavy fur cap: bust. merely nation. Signed and dated RHL 1631. Haarlem. the pinnacle of the top with hair may be noticeable throughout the fur cap, indicating that the portrait used to be initially conceived bareheaded. B 17 Self portrait in a cap and shawl with the face darkish: bust. moment nation of 2. Signed and dated Rembrandt f. 1633. Haarlem. Signature missing within the first kingdom. among the 1st and moment states the artist’s moustache won the silhouetted twirl. B 18 Self porirait with raised sabre. With touches of burin. First kingdom of 2. Signed and dated Rembrandt f. 1634. Haarlem. The penned 23 within the decrease margin is the etching’s quantity in Gersaint’s catalogue (1751). B 19 Self portrait with Saskia. moment nation of 3. Signed and dated Rembrandt f. 1636. Haarlem. The portrait of Saskia (see B 347) resembles that on B 365 in opposite, reminding us that the following Rembrandt was once seeing Saskia within the replicate. B 20 Self portrait in a velvet cap with plume. in basic terms nation. Signed and dated Rembrandt f 1638. Haarlem. B 21 Self portrait leaning on a stone sill. moment nation of 2. Signed and dated Rembrandt f. 1639. Haarlem. B 22 Self portrait drawing at a window. With drypoint and burin. moment nation of 5. Signed and dated Rembrandt f. 1648. Amsterdam. the 1st country lacks the signature. B 23 Self portrait [? ] with plumed cap and decreased sabre. First nation of 3. Signed and dated Rembrandt f. 1634. Amsterdam. diminish to an oval within the moment country. B 24 Self portrait in a fur cap: bust. Fourth country of 4. Signed and dated RHL 1630, faintly. Amsterdam. B 26 Self portrait in a ffat cap and embroidered gown. purely kingdom. Signed Rembrandt f. , very faintly. Haarlem. approximately 1642. B 27 Self portrait bareheaded, with excessive curly hair: head and bust.