The First Art Newspaper on the Net   Established in 1996 United States Friday, July 19, 2019

Kupferstichkabinett opens exhibition of drawings from the Rembrandt School
Gerbrand van den Eeckhout, Die Anbetung der Könige, um 1635-40. Feder in Braun, braun laviert (Ausschnitt) © Staatliche Museen zu Berlin, Kupferstichkabinett/ / Jörg P. Anders.

BERLIN.- Rembrandt or not Rembrandt? Drawings by the celebrated Dutch master have always been mixed up with those by his disciples and assistants who worked in the same style. Research carried out over the last years has led to a fundamental reappraisal of Rembrandt’s drawings that also affects the outstanding holdings of the Berlin Kupferstichkabinett. The exhibition presents approximately a hundred of the best drawings by artists in Rem-brandt’s circle as well as several originals by Rembrandt from our own collection and from other museums.

In recent years, the authenticity of Rembrandt’s drawings has greatly ex-ercised the few experts working in this field – with astonishing results: More than half of the drawings listed as autograph in the magisterial cata-logue raisonné compiled between 1954 and 1957 by Otto Benesch, the Viennese art historian and director of the Albertina, are now regarded as works by students and assistants. This has a major impact on the Kupfer-stichkabinett of the Staatliche Museen in Berlin, whose holdings of draw-ings by Rembrandt, his school and his circle are among the world’s largest.

The reason for the uniformity of the drawings and, with it, for the confusion of autograph works by Rembrandt with drawings by other artists lies in the very nature of Rembrandt’s studio practice. Between the 1630s and the 1660s, the artist had numerous students and assistants, some fifty of whom we know by name; many others remain anonymous. Among this throng were young beginners and fully trained artists as well as interested laymen or dilettanti who were attracted by the artist’s reputation. Drawing was central to the training in Rembrandt’s studio. Students were expected to master biblical and historical scenes. They learned how to capture, compose and stage dramatic narratives in the medium of drawing, how to use light and shadow, the poses and expressions of the human figure. Rembrandt showed them his own drawings which often served as direct models and teaching aids. Joint life drawing sessions in the studio and excursions to do landscape studies out of doors also formed part of the training, and the master and his students would often work on the same subjects, either in groups or parallel.

For Rembrandt’s students it was near-impossible to escape his formative influence – at least during the time they spent in his studio. It was not until later that some were able to shake off his powerful presence and develop a style of their own. Some even forged new paths in terms of technique. Others, however, remained forever beholden to Rembrandt’s manner.

It must be assumed that those drawings by Rembrandt and his students that were produced as part of the students’ training in the master’s studio were kept together in albums. Thanks to old inventories of Rembrandt’s property from 1656 and 1669, we know that the drawings were organised by subject – for example landscapes, animals, biblical scenes. Hardly anything was signed. A very small number of Rembrandt’s drawings are inscribed in his hand; drawings by students in training do not feature au-thentic signatures. In total, there were probably some 1500 to 2000 sheets. They came onto the market in several batches in 1658 and after the artist’s death in 1669. And from an early date, dealers and collectors alike were unable to tell works by Rembrandt and those of his students apart.

The Kupferstichkabinett is following up on its critical catalogue of Rem-brandt’s autograph drawings (published in 2006) with an inventory of its holdings of some 160 drawings that had previously been attributed to Rembrandt himself, but which have since been identified as works by art-ists in the master’s circle. The catalogue will be complemented by an ex-hibition of approximately 100 drawings by Ferdinand Bol, Willem Drost, Gerbrand van den Eeckhout, Arent de Gelder and other artists from Rem-brandt’s circle.

A small selection of Rembrandt originals from the rich holdings of the Kup-ferstichkabinett and other collections invites visitors to take a closer look at the similarities and subtle differences between the works by Rembrandt and his school and provides a fascinating insight into the way drawing was taught in the master’s studio.

The exhibition is accompanied by a catalogue raisonné published by Sandstein Verlag, Dresden.

Today's News

August 22, 2018

Kupferstichkabinett opens exhibition of drawings from the Rembrandt School

Old Master discoveries revealed in Koller's Autumn Auctions

'DRAG: Self-portraits and Body Politics' opens at HENI Project Space, Hayward Gallery

Sotheby's to offer property from the Joseph & Brenda Calihan Collection

Rare Abraham Lincoln photograph among items in Fine Autographs and Artifacts auction

Chase F. Robinson named Director of Smithsonian's Freer and Sackler Galleries

Sotheby's to offer Irish art from the collection of Brian P. Burns

Exhibition at the Bruce Museum traces the history of the Navajo weaving tradition

The Winter Art & Antiques Fair Olympia returns for 2018

National Museum Zurich showcases images captured by the famous Eastern Swiss pilot Walter Mittelholzer.

Rare Meerbach clavichord at 8th Geelvinck Fortepiano Festival

Display of Sung-Kook Kim's 'Mercury_Dark Knight' on view at The Fitzrovia Gallery

Amanda Penrose Hart opens 'Beautiful One Day, Perfect the Next' at Mitchell Fine Art

New Museum appoints Regan Grusy as Vice President of Strategic Partnerships

Ukrainian filmmaker Sentsov enters day 100 of hunger strike

TASCHEN publishes 'Walt Disney's Disneyland' by Chris Nichols

New film spotlights unsung artisans behind America's iconic buildings

Rose Art Museum announces three new staff positions

The Sculpture Park at Madhavendra Palace, Jaipur, announces appointment of Noelle Kadar as Director

Paddle8 and Aaron Rose present Beautiful Losers

Hallie Ringle named Curator of Contemporary Art at Birmingham Museum of Art

The 1792 gold piece that might have once jingled in George Washington's pocket sold for $1.74 million

Spain's legendary 'First Dollar of the Americas' auctioned for $528,000

Newly discovered 1854-S $5 gold coin sold for $2.1 million at Heritage Auctions

Most Popular Last Seven Days

1.- Original 'Star Wars' creators lift lid on special effects challenges

2.- Lost '$170 million Caravaggio' snapped up before French auction

3.- Mansell's 'Red Five' on pole for Bonhams sale

4.- Impressionism's 'forgotten woman' shines in new Paris show

5.- Sotheby's to auction the best-surviving NASA videotape recordings of the Apollo 11 Moon Landing

6.- Exhibition explores Dutch and Spanish painting of the 16th and 17th centuries

7.- Cyprus discovers 'first undisturbed Roman shipwreck'

8.- Sotheby's unveils 'Treasures from Chatsworth' with Leonardo Da Vinci drawing, Lucian Freud portraits, and more

9.- Infamous botched art restoration in Spain gets makeover

10.- 1958 Gibson Flying V Korina played by Dave Davies to grab center stage in Heritage Auctions' sale

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
Editor & Publisher:Jose Villarreal - Consultant: Ignacio Villarreal Jr.
Art Director: Juan José Sepúlveda Ramírez

Royalville Communications, Inc
Founder's Site. The most varied versions
of this beautiful prayer.
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful