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REMBRANDT - 400 (Rembrantam - 400)

100%
Upeniece D.
Makslas Vesture un Teorija
|
2006
|
vol. 6-7
5-12
EN
Celebrating the artist's 400th anniversary, the article explores 12 etchings by Rembrandt van Rijn, held in the collection of Museum of Foreign Art in Riga. The works include: Portrait of Rembrandt's Mother, Beggar with a Wooden Leg, Self-Portrait in a Fur Cap, Christ Driving the Moneychangers from the Temple, Abraham Casting Out Hagar and Ismael, The Bride of the Jew (Saskia as St. Catherine), Draughtsman (Man Drawing from a Cast), Schoolmaster (Woman at a Door Hatch Talking to a Man and Children), The Angel Departing from the Family of Tobit, Faust, The Adoration of the Shepherds with the Lamp, Young Haaringh (Pieter Haaringh) and Self-Portrait with Saskia.
2

GRAPHIC OEUVRE OF REMBRANDT VAN RIJN. NEW RESERARCH PERSPECTIVES OF GRAPHIC WORK (Tworczosc graficzna Rembrandta van Rijn. Nowe perspektywy badawcze dziela graficznego)

88%
Talbierska J.
Rocznik Historii Sztuki
|
2008
|
vol. 33
65-127
EN
The activity of Rembrandt as a printmaker spans generally the period from 1626 to 1661. His ouvre amounts roughly to 320 works, including self-portraits, portraits or tronies, nudes, sketches, studies, landscapes, Bible and genre scenes, usually autonomous to his paintings and drawings. Rembrandt was a self-taught printmaker, all the way developing his technique, exploring the abilities of printmaking and customizing graphic art. In late 30s. and 40s. he began to create sophisticated works that combined etching with a drypoint and sometimes burin, while a rather soft type of etching ground. After 1650 there was a drastic change, however, and diagonally drawn lines became rough, crude and dry; a drypoint was used as rich enhancement of etching or on its own. Rembrandt's graphic ouvre represented a synthesis of the previous achievements, a creative experiment, testimony to the innovative technical and stylistic quests. The recent years have brought a significant development in the research into the printmaking of Rembrandt that perfectly reveals the complexity of his method as well as a new required standard of examination of the graphic works in general. In practice it means the well-known model: description, analysis, and interpretation, while the last one is additionally enhanced by new research perspectives. The fundamental elements remained the same, but all stages and descriptions are expanded due to the developed method and research apparatus, while ones of the most important became technical issues and the paper analyses related to the states of impressions and editions. A decade preceding the jubilee year of Rembrandt with its publications and exhibitions has not put the end to the research into Rembrandt's graphic ouvre. The issue here is not only to continue various perspectives of research, but first and foremost to conclude the basic research, including a compilation of a new descriptive catalogue of his prints.
3

REMBRANDT IN RUNDALE PALACE (Rembrants Rundales pili)

75%
Lancmanis I.
Makslas Vesture un Teorija
|
2006
|
vol. 6-7
13-15
EN
Rembrandt's painting 'Anna and Simeon in the Temple' is one of the most valuable artworks ever to have been in Latvia. Under the title of 'Hannah und Simeon im Tempel', it is now part of the collection of the Hamburger Kunsthalle. The painting was made between 1627 and 1628 but in 1632 it was in the collection of Netherlands Stadhoulder Frederick Hendrick in The Hague. In 1735 it was sold at the auction of Marinus de Jeude's collection in The Hague. The artwork moved to Paris, firstly to the Count de Lassay collection but in 1771 it was sold at the auction of Count de la Guiche's collection. The very same year it was sold at the auction of the collection of its new owner, Count Jean du Barry. The painting then moved from Jean Baptiste Lebrun's antique art shop to Everard Georg van Tindinghorste's collection. Peter, the Duke of Courland, bought it at the auction of the van Tindinghorste property in Amsterdam in 1777. So Rembrandt's painting has been in Latvia between 1777 and 1795 when Duke Peter abdicated and moved furnishings from six palaces in Courland to his properties in Sagan, Nahod and Berlin. After Duke Peter's death in 1800 the most of his collection of paintings remained in Sagan Palace, which had been inherited by his eldest daughter Wilhelmine. She died in 1839 and left the Sagan property to her sister Pauline. In 1800 she had married Friedrich Hermann, successor to the throne of Hohenzollern-Hechingen, but their son, Friedrich Wilhelm (Constantin), the last reigning Prince of Hohenzollern-Hechingen, sold the Sagan property in 1843 to his mother's sister, the Duchess Dorothée de Talleyrand. In 1846 the catalogue of the Sagan Palace picture gallery was compiled and included Rembrandt's work.
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