Book contents
- Frontmatter
- Dedication
- Contents
- Acknowledgements
- Introduction
- 1 Rembrandt and Frans Hals Painting in the Workshop of Hendrick Uylenburgh
- 2 Rembrandt and the Germanic Style
- 3 Rembrandt and the Humanist Ideal of the Universal Painter
- 4 Curiosity and Desire: Rembrandt’s Collection as Historiographic Barometer
- 5 Painted Landscapes by Lievens and Rembrandt : The View from Seventeenth-Century Amsterdam Collections
- 6 Jan Lievens in Antwerp: Three Rediscovered Works
- 7 Gerrit Dou as a Pupil of Rembrandt
- 8 A New Painting by Jan van Noordt in Budapest
- 9 Rembrandt’s First Nude? The Recent Analysis of Susanna and the Elders from Rembrandt’s Workshop
- 10 Rembrandt’s Head of Christ: Some Technical Observations concerning Matters of Style
- 11 A Rediscovered Head of John the Baptist on a Platter from Rembrandt’s Studio
- 12 Rembrandt’s One Guilder Print: Value and Invention in ‘the most beautiful [print] that ever came from the burin of this Master’
- 13 Rembrandt, Ferdinand Bol, and Tobit: The Emergence of a Pathosträger
- 14 Biblical Iconography in the Graphic Work of Rembrandt’s Circle
- 15 Jan van Vliet and Rembrandt van Rijn: Their Collaboration Reassessed
- 16 Printmaking among Artists of the Rembrandt School
- 17 Chain Line Pattern Matching and Rembrandt’s Prints
- List of Illustrations
- Bibliography
- Index Nominum
16 - Printmaking among Artists of the Rembrandt School
Published online by Cambridge University Press: 21 January 2023
- Frontmatter
- Dedication
- Contents
- Acknowledgements
- Introduction
- 1 Rembrandt and Frans Hals Painting in the Workshop of Hendrick Uylenburgh
- 2 Rembrandt and the Germanic Style
- 3 Rembrandt and the Humanist Ideal of the Universal Painter
- 4 Curiosity and Desire: Rembrandt’s Collection as Historiographic Barometer
- 5 Painted Landscapes by Lievens and Rembrandt : The View from Seventeenth-Century Amsterdam Collections
- 6 Jan Lievens in Antwerp: Three Rediscovered Works
- 7 Gerrit Dou as a Pupil of Rembrandt
- 8 A New Painting by Jan van Noordt in Budapest
- 9 Rembrandt’s First Nude? The Recent Analysis of Susanna and the Elders from Rembrandt’s Workshop
- 10 Rembrandt’s Head of Christ: Some Technical Observations concerning Matters of Style
- 11 A Rediscovered Head of John the Baptist on a Platter from Rembrandt’s Studio
- 12 Rembrandt’s One Guilder Print: Value and Invention in ‘the most beautiful [print] that ever came from the burin of this Master’
- 13 Rembrandt, Ferdinand Bol, and Tobit: The Emergence of a Pathosträger
- 14 Biblical Iconography in the Graphic Work of Rembrandt’s Circle
- 15 Jan van Vliet and Rembrandt van Rijn: Their Collaboration Reassessed
- 16 Printmaking among Artists of the Rembrandt School
- 17 Chain Line Pattern Matching and Rembrandt’s Prints
- List of Illustrations
- Bibliography
- Index Nominum
Summary
Abstract
None of the artists in Rembrandt's circle took on printmaking with the same intensity and technical curiosity as the master himself, but, as a group, they created a varied body of work that is worthy of consideration. This essay approaches printmaking in Rembrandt's circle from the point of view of technique. Artists such as Ferdinand Bol, Samuel van Hoogstraten, and Gerbrand van den Eeckhout vary in their relation to Rembrandt's work, and their relationship to him as printmakers differs substantially from what we find in the corpus of paintings and drawings by the same artists. Thus, closer analysis of this body of graphic work can shed new light on Rembrandt and his activities and influence as a printmaker.
Keywords: Rembrandt van Rijn, Jan van Vliet, Jan Lievens, Ferdinand Bol, Salomon Koninck, Samuel van Hoogstraten, Gerbrand van den Eeckhout, Constantijn Daniel van Renesse, Willem Drost, printmaking, etching, woodcut
While none of the artists in Rembrandt's circle took on printmaking with the same intensity and technical curiosity as the master himself, as a group they created a substantial and varied body of work that is worthy of consideration. By no means do their prints form a cohesive group but their works deserve examination if only because the relationship of their prints to Rembrandt's is so different from that of the same artists’ paintings and drawings to Rembrandt's work in those media and thus may inform us about Rembrandt and his activities and influence as a printmaker. In contrast to Peter van der Coelen's essay in this volume, which addresses the treatment of biblical subjects by this group of artists, this essay will focus on their work from the point of view of style and technique.
The Rembrandt School prints have not been well-explored beyond those by the most prominent and prolific printmakers, among them Jan Lievens, Ferdinand Bol, and Jan van Vliet, and only one of these figures was a pupil. Other artists in this group who created prints include Willem Drost, Gerbrand van den Eeckhout, Samuel van Hoogstraten, Philips Koninck, Salomon Koninck, Jurgen Ovens, Constantijn Daniel van Renesse, and Pieter de With.
- Type
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- Information
- Rembrandt and his CircleInsights and Discoveries, pp. 305 - 318Publisher: Amsterdam University PressPrint publication year: 2017