By Anna Tummers, Koenraad Jonckheere
The query even if seventeenthcentury painters reminiscent of Rembrandt and Rubens created the work that have been later offered less than their names, has brought on many a heated debate. a lot continues to be unknown in regards to the ways that work have been produced, assessed, priced, and advertised. for instance, did modern connoisseurs count on masters similar to Rembrandt to color their works completely by means of their very own hand? Who used to be credited being able to determine work? How did a painting’s cost relate to its caliber? and the way did connoisseurship switch because the paintings marketplace turned more and more complicated? The individuals to this crucial quantity hint the evolution of connoisseurship within the booming artwork industry of the 17th- and eighteenth centuries. between them are the popular Golden Age students Eric Jan Sluijter, Hans Van Miegroet and Neil De Marchi. it isn't to be ignored by way of a person with an curiosity within the outdated Masters and the early smooth artwork industry.
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Additional info for Art market and connoisseurship : a closer look at paintings by Rembrandt, Rubens and their contemporaries
When he was subsequently asked if anyone else had contributed to the piece, he shook his head. While Van der Helst may have been lying – since he only shook his head, he could always say that he had never actually said so – these sources are nonetheless telling. On the one hand, these documents indicate that it was not self-evident that a work signed and sold as by a certain master was indeed entirely executed by that master. On the other hand, they suggest that at least some painters deliberately created purely autograph works and in doing so provided both seventeenth-century buyers and present-day connoisseurs with the certainty that at least some of their works can be expected to have been done solely by their own hand.
23 The same holds true for seventeenth-century inventories and sales catalogues. 25 These six documents state that a certain work is done entirely ‘by the hand of the master’ and sometimes even specify that it was done ‘without help from others’. This seems to suggest that there was indeed an interest in purely autograph works. Jaap van der Veen believes that this was the case among well-to-do burghers who could afford the better paintings (there seems no reason to assume that issues of authenticity would have been of great concern to the producers and buyers of cheap pictures).
It is very rare indeed that one can ﬁnd evidence of early connoisseurs weighing arguments when making an attribution. An imaginary dialogue written in 1677 by the Parisian writer and collector Roger de Piles, suggests that some of these early experts may have been quite sophisticated in their judgements. 4 Yet primary sources addressing these issues are scant. 6 Interestingly, the available sources seem rather ambivalent. On the one hand, surviving guild statutes indicate that it was common practice for master painters to sell works produced in collaboration with their studio assistants under their own name, as we will see.
Art market and connoisseurship : a closer look at paintings by Rembrandt, Rubens and their contemporaries by Anna Tummers, Koenraad Jonckheere