Rembrandt's mark

Par : Stephanie Buck, Jürgen Müller

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40,00 €
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  • Nombre de pages279
  • PrésentationBroché
  • Poids1.245 kg
  • Dimensions23,0 cm × 30,0 cm × 2,5 cm
  • ISBN978-1-911300-62-5
  • EAN9781911300625
  • Date de parution05/07/2019
  • ÉditeurPaul Holberton Publishing
  • Directeur de publicationMarion Ackermann

Résumé

2019 marks the 350th anniversary of Rembrandt's death (1605-1669). The Dresden Kupferstich-Kabinett, which possesses one of the most important collections of Rembrandt's drawings and prints in the world, has taken the opportunity to cast fresh light on this innovative 'artists' artist'. Rembrandts 'mark' is not only his individual hand but also the deep impression he has made on subsequent art practice.
"No one gets round Rembrandt" (Max Beckmann). Rembrandt's mark is explored in this exhibition and catalogue in his most personal themes and processes - in his self-portraits (which have had huge influence) ; in his studies of his wife Saskia in their brief years together before her early death ; in the way he taught drawing and studied from the life with his numerous pupils ; in the vitality and freedom - not to say extreme skill - with which he composed and prepared his graphic work, in particular his masterpiece the Hundred Guilder Print ; and his much admired handling of light and shadow.
2019 marks the 350th anniversary of Rembrandt's death (1605-1669). The Dresden Kupferstich-Kabinett, which possesses one of the most important collections of Rembrandt's drawings and prints in the world, has taken the opportunity to cast fresh light on this innovative 'artists' artist'. Rembrandts 'mark' is not only his individual hand but also the deep impression he has made on subsequent art practice.
"No one gets round Rembrandt" (Max Beckmann). Rembrandt's mark is explored in this exhibition and catalogue in his most personal themes and processes - in his self-portraits (which have had huge influence) ; in his studies of his wife Saskia in their brief years together before her early death ; in the way he taught drawing and studied from the life with his numerous pupils ; in the vitality and freedom - not to say extreme skill - with which he composed and prepared his graphic work, in particular his masterpiece the Hundred Guilder Print ; and his much admired handling of light and shadow.

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