Cover image for Rembrandt creates Rembrandt : art and ambition in Leiden, 1629-1631
Rembrandt creates Rembrandt : art and ambition in Leiden, 1629-1631
Rembrandt Harmenszoon van Rijn, 1606-1669.
Publication Information:
Boston : Isabella Gardner Stewart Museum ; Zwolle : Waanders, [2000]

Physical Description:
144 pages : illustrations (some color), facsimiles, portraits ; 30 cm
General Note:
Published on the occasion of an exhibition held at the Isabella Stewart Gardner Museum, Boston, Sept. 21, 2000-Jan. 7, 2001.
Forword -- Acknowledgments -- Introduction -- Chronology -- Rembrandt inventing himself / Arthur K. Wheelock Jr. -- Making a mark in Rembrandt's Leiden / Mariët Westermann -- Rembrandt's technique during the Leiden years / Chistopher [sic] White -- The myth of young genius : understanding Rembrandt's early career / Alan Chong -- Catalogue / Hilliard Goldfarb, Michael Zell, Alan Chong -- Catalogue documentation -- Appendix : Constantijn Huygens on Rembrandt -- Bibliography -- Index of works by Rembrandt -- Index -- Illustrations.
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Format :


Call Number
Material Type
Home Location
Item Holds
ND653.R4 A4 2000 Adult Non-Fiction Central Closed Stacks-Oversize

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Reviews 1

Choice Review

By concentrating on the years 1629-31 in Rembrandt's life (1606-69) and works, the authors of the introductory essays and catalog entries offer insights into the formation of the artist's reputation, imagery, and working methods. During these two years, Rembrandt made the transition from Leiden to Amsterdam and from emerging to sought-after young artist. He achieved this under the presumed encouragement and even guidance of Constantijn Huygens, and with the artistically rich friendship of the skillful and equally ambitious Lievens. Self-consciously, Rembrandt sought to rival if not surpass his predecessors in antiquity and the Renaissance, as well as the artists of his own time. Rembrandt also had ambitions to portray nature in both the beautiful and the ugly, and to depict vivid emotion in order to move the beholder. A better understanding of his complex formative years is as critical to comprehending the outward dynamism of his early mature group portraits and histories, as it is to his later work, with its restrained physical action and profoundly quiet expressiveness. This publication serves not only as an excellent introduction to Rembrandt's early years, on which his later work depends, but also as a deft analysis of aesthetic issues in the Baroque. General readers; graduate students; faculty. A. Golahny Lycoming College