Gemäldegalerie has been acquired Landscape with arch bridge In 1924, when it was attributed to Rembrandt. The work came from the private possessions of Friedrich August II, the last Duke of Oldenburg, whose fine art collection was sold after the abolition of the German monarchy.
Like many of Rembrandt’s innovative landscapes, it depicts the Dutch countryside greatly illuminated by sun and shade. The museum praised the acquisition as filling an important gap in the narrative it provides about Rembrandt.
In the late 1980s, the Rembrandt Research Project, composed of Dutch art historians who judge unanimously the correctness of Rembrandts around the world, redistributed it. Landscape with arch bridge For a student of Rembrandt Jouvert Flink. In defense of their decision, they cited Rembrandt’s “astoundingly far-reaching stylistic, technical, and thematic similarities” previously, Landscaping with stone bridgeheld at the Rijksmuseum in Amsterdam.
In other words, they thought it was an apparent attempt to duplicate Rembrandt, like a forger tracing a signature.
Determined to reclaim a Berlin painting referral, Gemäldegalerie used technological advances in painting analysis to assess the paint’s life and application. The researchers decided that it was painted before the Amsterdam landscape, illustrating the more complex manipulations of light in recent work.
Rembrandt also returned to the work of the Gemäldegalerie several times to revise composition and color, settling into a more intense atmosphere. By contrast, the Amsterdam painting is more subtle and the sunlight is painted more intensely, which means that the worst of the storm has passed.
Attributing the work to Rembrandt decisively is often a controversial task. He had a large workshop and a giant visual influence on European painting, inspiring many imitators. It is common for a supposed Rembrandt to be stripped of its originality and later restored.
In 2020, a 400-year-old portrait in the collection of the Allentown Museum of Art was first identified to Old Master, then in the 1970s redistributed to Studio Rembrandt, identified by the Dutch painter.
A century ago, about 700 paintings were attributed to Rembrandt, but by the late 1960s, the Rembrandt Research Project had cut that number by nearly half. Institutions including the National Gallery in London, the Museum of Fine Arts in Boston, and the Metropolitan Museum of Art in New York have faced challenges with the supposed originality of Rembrandts in their collections. In the case of the Met, two business labels –picture of a man And the portrait of a woman-Updated to read “From Rembrandt’s Workshop”.
Independent Rembrandt historians have opposed the project verification regime and its resistance to outside opinions. Today, the group’s energies are dedicated to developing a comprehensive catalog of Rembrandt’s works. Most of the major technical institutions now have their own team of researchers.
Despite his influence on the genre, Rembrandt painted few landscapes. The redistribution of the Berlin painting brings the number of landscapes known to the artist to seven. Landscape with arch bridge It is currently on display in the “David Hockney – Landscapes in Dialogue” exhibit which includes Hockney’s Three Trees near Thixendale series.
Together, the restored Hockney and Rembrandt created an “amazing conversation,” according to Gemäldegalerie.
[ad_2]
