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Rembrandt's Rivals: History Painting in Amsterdam (1630-1650) (OCULI: Studies in the Arts of the Low Countries), by Eric Jan Sluijter
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During the period of Rembrandt’s career the Amsterdam art market grew with breathtaking speed. Each painter had to secure a place professionally and make a living, which would have been no small matter. In what kind of paintings should he specialize? How could he distinguish his works from those of his colleagues and find buyers for his products? How did he acquire a reputation, and how much were clients willing to pay? Every painter would have continuously asked himself such pressing questions. These are also the leading questions of this study, which examines the depiction of Biblical and other religious themes, classical mythology, and classical and post-classical literature across the entire range of production, from expensive high-quality works to cheap pictures. The book begins at the moment that a considerable number of young artists – among them Rembrandt – settled in Amsterdam. Twenty years later, the quantity, diversity and quality of the production of history paintings, propelled by artistic rivalry, reached its summit.
- Sales Rank: #1551844 in Books
- Published on: 2015-02-16
- Original language: English
- Dimensions: 11.50" h x 8.75" w x 1.50" l, 4.85 pounds
- Binding: Hardcover
- 496 pages
Most helpful customer reviews
0 of 0 people found the following review helpful.
Very informative, worth the price.
By Yoshi M. Edison
Great book on the long neglected subject of how Rembrandt's studio worked. These artists who worked with Rembrandt get the credit that they deserve and need to be talked about. Like it or not, in 17the century, there were no art schools. Artists learned like other trades, under the masters and created the work, Rubens operated the same way, yet Rembrandt was one artist that many art historians had argued that the master painted all by himself, or condemned some of them as nothing but studio copies. I think the Rembrandt Research Project had made a lot of good work, but also made it very confusing as what IS Rembrandt art or not, as their opinion kept on changing. I hope to see more books like this written about artists who worked with Rembrandt and shed light to the practice of 17th
century studio practice.
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