Abstract
In a 1969 article on Rembrandt as a teacher, Haverkamp-Begemann wrote that: ‘In spite of their ability to emulate Rembrandt’s style, they (Rembrandt’s pupils) apparently did not assist him to any substantial degree in his drawings, etchings and paintings. Not one painting is known of which the visual surface shows evidence of having been executed by Rembrandt with the assistance of another artist. In this respect Rembrandt differed greatly from Rubens who used the talents available to assist him in his work. Rembrandt preferred to complete his paintings, his drawings and his etchings himself.’1
This is a preview of subscription content, log in via an institution.
Buying options
Tax calculation will be finalised at checkout
Purchases are for personal use only
Learn about institutional subscriptionsPreview
Unable to display preview. Download preview PDF.
References
E. Haverkamp-Begemann, Rembrandt after three hundred years: An exhibition of Rembrandt and his followers, Chicago/Minneapolis/Detroit 1969–70, pp. 21–30, esp. 25.
A. Houbraken, De Groote Schouburgh der Nederlandtsche Konst schilders en Schilderessen, Amsterdam 1718, I, p. 27.
F. Baldinucci, Cominciamento, e progresso dell’arte dell’ intagliare in rame, colle vite di molti de’più eccelenti Maestri della stessa Proffesione, Florence 1686, paragraph 9: ‘Quando operava non avrebbe data udienza al primo Monarca del mondo, a cui sarebbe bisognato il tornare, e ritornare finchè l’avesse trovato fuori di quella faccenda.’
P. Taylor, ‘The Concept of Houding in Dutch Art Theory’, Journal of the Warburg and Courtauld Institutes 55 (1992), p. 220.
D. Tamis, forthcoming Ph.D. dissertation.
J. von Sandrart, Teutsche Academie der Edlen Bau-, Bild-, und Mahlerey-Künste, Nuremberg 1675, i, 3, p. 85.
W. Liedtke, ‘Reconstructing Rembrandt’, Apollo 129 (May 1989), pp. 323–331; pp. 371–372. A.K. Wheelock Jr., Dutch Painting of the Seventeenth Century, The Collection of the National Gallery of Art, Systematic Catalogue, Washington 1995, pp. 205–210, esp. 207–210. H. von Sonnenburg, in: Exhib. cat. Rembrandt not Rembrandt, 1995/96, cat. nos. 3 and 4, pp. 18–19 and 82–87.
Agnes Czobor, Rembrandt und sein Kreis, Budapest 1969, no. 9.
In the inventory of Laurens Mauritsz Douci in Amsterdam, 18 January 1669. Br. Künstler-Inv., II, p. 423.
For example: ‘Een still leggent leven van Rembrant geretukeert; Een schilderije van een Samaritaen door Rembrandt geretuckeert’ in: Strauss Doc., 1956/12, nos. 351, 352.
B.P.J. Broos, ‘Rembrandt verandert. En overgeschildert’, De Kroniek van het Rembrandthuis 26 (1972), pp. 137–52. Rembrandt, B. 286, B. 287 and B. 288. 12 Rembrandt, B. 56.
Bauch 1966, A 11. See also: W.R. Valentiner, Rembrandt. Des Meisters Gemälde, Stuttgart and Berlin 1908, p. 516.
Vol. II, pp. 64–76.
Vol. II, pp. 56–60.
Exhib. cat. Art in the making, 1988/89, pp. 66–73; see also Karin Groen, ‘Grounds in Rembrandt’s workshop and in paintings by his contemporaries’ and Karin Groen, ‘Tables of grounds in Rembrandt’s workshop and in paintings by his contemporaries’, in: Corpus Vol. IV, pp. 318–334 resp. pp. 660–677.
J.A. Emmens, Rembrandt en de regels van de kunst, Utrecht 1968, pp. 159–163.
Bode-HdG 353. H. Ruhemann, The Cleaning of Paintings. Problems and potentiallities, London 1969, figs. 12 and 13.
J. Bruyn, in: Exhib. cat. ‘Een gloeiend palet …’, Rotterdam 1988, pp. 78–88.
Corpus IV pp. 615–626; see also E. van de Wetering, ‘Rembrandt’s verborgen zelfportretten/Rembrandt’s hidden self-portraits’, in: De Kroniek van het Rembrandthuis, 2002/1–2, pp. 2–15.
A. van Grevenstein, K. Groen, E. van de Wetering, ‘Esther voor Haman, toege schreven aan Rembrandt’, Bulletin van het Rijksmu seum 39 (1991), pp. 56–83.
Corpus IV, pp. 217–229.
S.v.H. Hooge Schoole, p. 76: ‘Zeker’t is onvermakelijk te hooren, als som-tijds onweetende, doch verwaende liefhebbers, het beste deel in eenich stuk willende aenwijzen, iets zoo gemeens uitpikken, dat by den Meester schier als slapende, of ten minsten van zijn voornaemen arbeyt rustende, gemaekt is. Deeze dingen zijn by de ouden als overmaet of toegift tot het voornaemste werk geacht geweest, en wierden van hen Parerga genoemt; en zijn by groote Meesters gemeenlijk door de hand van jongens en aenkomelingen, of van de geene, die daer een handwerk van konden, gemaekt.’
S.v.H. Hooge Schoole, p. 72: ‘Ik zal gaerne toestaen, dat een meester in groote werken hulp van anderen nemen, die in bywerk geoeffent zijn: maer die met recht den naem van Meester in Historyen draegen wil, moet ook raet weten, als’t nood doet, tot bywerk.’
Rights and permissions
Copyright information
© 2011 Stichting Foundation Rembrandt Research Project
About this chapter
Cite this chapter
Van De Wetering, E. (2011). More than one hand in paintings by Rembrandt. In: A Corpus of Rembrandt Paintings. Stichting Foundation Rembrandt Research Project, vol 5. Springer, Dordrecht. https://doi.org/10.1007/978-1-4020-5786-1_5
Download citation
DOI: https://doi.org/10.1007/978-1-4020-5786-1_5
Publisher Name: Springer, Dordrecht
Print ISBN: 978-1-4020-4607-0
Online ISBN: 978-1-4020-5786-1
eBook Packages: Humanities, Social Sciences and LawLiterature, Cultural and Media Studies (R0)