Cookies Policy
X

This site uses cookies. By continuing to browse the site you are agreeing to our use of cookies.

I accept this policy

Find out more here

Two new Rembrandt etchings, 1632

No metrics data to plot.
The attempt to load metrics for this article has failed.
The attempt to plot a graph for these metrics has failed.
The full text of this article is not currently available.

Brill’s MyBook program is exclusively available on BrillOnline Books and Journals. Students and scholars affiliated with an institution that has purchased a Brill E-Book on the BrillOnline platform automatically have access to the MyBook option for the title(s) acquired by the Library. Brill MyBook is a print-on-demand paperback copy which is sold at a favorably uniform low price.

Access this article

+ Tax (if applicable)
Add to Favorites
You must be logged in to use this functionality

image of Quaerendo

Two previously undiscussed etchings that illustrate a book issued by Leiden publisher Justus Livius (Lievens) in 1632 raise the question whether they might be identified either as the work of the publisher's brother Jan Lievens or of these brothers' friend, Rembrandt van Rijn. Justus Livius's production was limited to thirty-two books between 1632 and 1649, with only one illustrated title page beyond the two 1632 etchings, unrelated to them. Reviewing past attempts to distinguish between the early works of Jan Lievens and Rembrandt, we discover that confusion has persisted for over three centuries. A cavalcade of style critics has paraded one apodictically proclaimed oeuvre separation after another. Each one may be correct, but all cannot simultaneously be correct; and the more recent proclamations have nothing to recommend them as necessarily superior to those of the past. An iconological approach, however, suggests that the pictorial themes in the 1632 title page recur throughout the earlier and later signed etchings and paintings of Rembrandt, while the same themes are absent in the signed works of Jan Lievens. This circumstantial evidence resolves the problem of attribution in favor of Rembrandt.

10.1163/157006906778163392
/content/journals/10.1163/157006906778163392
dcterms_title,pub_keyword,dcterms_description,pub_author
6
3
Loading
Loading

Full text loading...

/content/journals/10.1163/157006906778163392
Loading

Data & Media loading...

http://brill.metastore.ingenta.com/content/journals/10.1163/157006906778163392
Loading

Article metrics loading...

/content/journals/10.1163/157006906778163392
2006-08-01
2016-12-06

Sign-in

Can't access your account?
  • Tools

  • Add to Favorites
  • Printable version
  • Email this page
  • Subscribe to ToC alert
  • Get permissions
  • Recommend to your library

    You must fill out fields marked with: *

    Librarian details
    Your details
    Why are you recommending this title?
    Select reason:
     
    Quaerendo — Recommend this title to your library
  • Export citations
  • Key

  • Full access
  • Open Access
  • Partial/No accessInformation