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Attributing old master paintings is one of the most difficult tasks of the art historian. Moreover, the stakes can be high, especially when the painting in question might be that of a famous master. The difference in price between an authentic old master painting and a work 'in the manner of' a well-known painter can add up to several million dollars. The fingerprint of an Old Master discusses issues regarding attribution of Dutch and Flemish paintings of the seventeent-century. Rembrandt's David and Jonathan (Hermitage, St. Petersburg), de-attributed by the Rembrandt Research Project in 1989, provides an unique oppurtunity to compare seventeenth- and twentieth-century conoisseurship. An analysis of the painting based on terms of seventeenth-century art theory shows that the painting must have been successful according to contemporary standards of appreciation, that is, worthy of carrying Rembrandt's name.
Painting, Dutch --- Painting, Flemish --- Attribution. --- Rembrandt Harmenszoon van Rijn, --- Authorship. --- Painting --- attribution --- connoisseurship --- forgeries [derivative objects] --- anno 1600-1699 --- Netherlands --- Rembrandt --- Flemish painting --- Dutch painting --- Attribution --- Rāmbirānt, --- Rembrandt Garmens van Reĭn, --- Rembrandt van Rijn --- Rembrandt van Reĭn, --- Lun-po-lang, --- Rembrandt, --- Van Rijn, Rembrandt Harmenszoon, --- Rijn, Rembrandt Harmenszoon van, --- Rembrandt Harmensz van Rijn, --- Reimbrandt, --- Rembrandt van Rijn, --- רמברנדט --- רמברנדט הרמנסזון ואן־ריין, --- رامبرانت --- Rembrandt Harmenszoon van Rijn --- Rembrandt Garmens van Reĭn --- Rembrandt van Reĭ --- Lun-po-lan --- Van Rijn, Rembrandt Harmenszoon --- Rijn, Rembrandt Harmenszoon van --- Rembrandt Harmensz van Rin, --- Reimbrand
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Art --- parties [events] --- alcoholism --- dronkaard --- gouden eeuw (Holland) --- anno 1600-1699
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Art --- Leyster, Judith
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influence --- Titian --- Hals, Frans --- Rubens, Peter Paul --- Rembrandt
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Aesthetics of art --- Painting --- attribution --- connoisseurship --- Hollandse school --- Vlaamse school --- anno 1600-1699 --- Netherlands --- Flanders
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Painting --- connoisseurship --- anno 1600-1699
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Painting --- art market --- connoisseurship --- anno 1600-1699
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vrouwelijke kunstenaars --- Leyster, Judith --- 17de eeuw --- Haarlem
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The question whether or not seventeenthcentury painters such as Rembrandt and Rubens created the paintings which were later sold under their names, has caused many a heated debate. Much is still unknown about the ways in which paintings were produced, assessed, priced, and marketed. For example, did contemporary connoisseurs expect masters such as Rembrandt to paint their works entirely by their own hand? Who was credited with the ability to assess paintings? How did a painting's price relate to its quality? And how did connoisseurship change as the art market became increasingly complex? The contributors to this essential volume trace the evolution of connoisseurship in the booming art market of the seventeenth- and eighteenth centuries. Among them are the renowned Golden Age scholars Eric Jan Sluijter, Hans Van Miegroet and Neil De Marchi. It is not to be missed by anyone with an interest in the Old Masters and the early modern art market.
Painting --- connoisseurship --- art market --- Economic relations. Trade --- anno 1600-1699 --- Art as an investment --- Art comme placement --- Kunst als belegging --- Art as an investment. --- Art --- Kunst. --- Kunstkennerschaft. --- Collectors and collecting. --- Marketing. --- Marketing --- Art [Dutch ] --- 17th century --- Expertising --- Painting [Dutch ] --- Attribution --- Collectors and collecting --- Valuation --- 16th century --- History --- Netherlands --- Hollandse school --- Nederlandse school --- Vlaamse school
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