Rembrandt behind the scenes. Christ disputing with the doctors: An intriguing panel from seventeenth-century Barcelona
DOI:
https://doi.org/10.1344/Materia2024.23.5Keywords:
Rembrandt, Dutch Golden Age painting, catalan baroque paintingAbstract
Between July 2012 and December 2013, the CRBMC (Centre de Restauració de Béns Mobles de Catalunya) restored two severely damaged works, painted probably around the middle of the seventeenth century by an anonymous and second-rate artist. The paintings were Christ Disputing with the Doctors and The Flight into Egypt. When the restoration was completed, it brought to light several interesting aspects: New painting had been applied over ancient panels from a sixteenth-century altarpiece, and the details in the new works, especially the first, did not follow the usual formula of Catalan baroque masters. The article analyses the clues that could point to the author’s being a Dutch or Flemish Rembrandtesque artist temporarily settled in Barcelona.
References
ALCOLEA, Santiago, «La Pintura en Barcelona durante el siglo XVIII–II», Anales y Boletín de los Museos de Arte de Barcelona, XV, 1961–1962, p. 28–30
ALPERS, Svetlana, Rembrandt’s Enterprise: The Studio and the Market, University of Chicago Press, Chicago, 1988
BIKKER, Jonathan, «Emulation», in Rembrandt the Late works, National Gallery London, London, 2014, p. 74-97
BROOS, B.P.J, Index to the Formal Sources of Rembrandt’s Art, Maarsen, 1977
BRUYN, Josua, «Rembrandt's Workshop: Its Function and Production», In Rembrandt: The Master and His Workshop, edited by Christopher Brown, Jan Kelch, and P. J. J. van Thiel, Exhibition catalog, Gemäldegalerie Staatliche Museen Preussischer Kulturbesitz, Berlin; Rijksmuseum, Amsterdam, National Gallery, London, New Haven and London, 1991-1992
CLARK, Kenneth, Rembrandt and the Italian Renaissance, London, 1966
CRBMC, «Informe de restauració de les pintures Jesús entre els Doctors i La fugida a Egipte» [online], Valldoreix, CRBMC, 2013, available in https://centrederestauracio.gencat.cat/web/.content/crbmc/pdf/arxiu/dominiques_scugat.pdf [query: 19-10-2023]
DE WITT, VAN SLOTTEN, VAN DER VEEN, Rembrandt’s Late Pupils: studying under a genius, Houden, 2015
DICKEY, Stephanie S., «Rembrandt and his circle», in Wayne Franits (ed.) The Ashgate Research Companion to Dutch Art of the Seventeenth Century, Burlington VT, Ashgate 2016, p. 169-201
HINTERDING, Eric, RUTGERS, Jaco, and LUIJTEN, Ger (ed.), Rembrandt, The New Hollstein Dutch & Flemish Etchings, Engravings and Woodcuts, 1450–1700, Ouderkerk aan den Ijsel, Sound & Vision Publishers, 2013
LIEDTKE, Walter., «Rembrandt’s “Workshop” revisited», Oud Holland ,117, 2004, p.48-73
MONTIAS, J.Michael, «Painters in Delft, 1613-1680», Simiolus, vol. 10, 1978-1979, 2: 110
OBERHUBER, Konrad, and RAIMONDI, Marcantonio, The Illustrated Bartsch, vol. 26, The works of Marcantonio Raimondi and of his school, New York, Abaris Books, 1978
RemDoc: Rembrandt’s Document Project [online], Nijmegen, Art History Department Radboud University Nijmegen, available in www.remdoc.org [query: 19-10-2023]
Rembrandt Database [online], The Hage, RKD - Netherlands Institute for Art History, available in www.rembrandtdatabase.org [query: 19-10-2023]
ROUILLÉ, Nicole, Peindre et dire les passions: la gestuelle baroque aux XVIIe et XVIIIe siècles: l'exemple du Musée Fesch d'Ajaccio, Ajaccio, Éditions Alain Piazzola, 2006
ROYALTON-KISCH, Martin, «The Drawings of Rembrandt. A Revision of Otto Benesch's Catalogue Raisonné’s» [online], available in www.rembrandtcatalogue.net, 2010 [query: 19-10-2023]
SANCHEZ BELEN, J. A, «El comercio de exportación holandés en el Mediterráneo español durante la regencia de doña Mariana de Austria», Espacio, Tiempo y Forma, Serie IV, H. Moderna, t. 9, 1996, p. 267-321
SANZSALAZAR, Jahel, «Van Dyck, noticias sobre los retratos ecuestres de Francisco de Moncada, marqués de Aytona, y su procedencia en el siglo XVII», Archivo Español de Arte, 315, 2006, p. 320-332
SCHATBORN, Peter, «Rembrandt: From life and from memory», in Görel Cavalli-Björkman (ed.), Rembrandt and his pupils: Papers given at a symposium in the Nationalmuseum Stockholm, Stockholm 1993, p. 156-172
SCHWARTZ, Gary, «Rembrandt’s Dürer», Art History form Holland [online], available in https://www.garyschwartzarthistorian.nl/?s=rembrandt%27s+durer, 2013 [query: 19-10-2023]
SELLINK, Manfred, and LEEFLANG, Huigen (ed.), Cornelis Cort, Part I, The New Hollstein Dutch & Flemish Etchings, Engravings and Woodcuts, 1450–1700, Rotterdam, Sound & Vision Publishers, 2000
SLUIJTER, Eric Jan, Rembrandt’s Rivals. History Painting in Amsterdam, 1630-1650, Amsterdam - Philadelphia, Oculi, Studies in the arts of the Low Countries, vol. 14, John Benjamins, 2015
SUMOWSKI, Werner, Gemälde der Rembrandt-Schüler, CH. Paudiss-Anonyme, vol. IV, Edition PVA, Landau/Pfalz, 1983-1989
THIEME-BECKER, Allgemeines Lexikon der Bildenen Künstler, vol. XXVIII, Leipzig, 1934
TORRAS TILLÓ, Santi, «Pintura catalana del Barroc. L’auge col·leccionista i l’ofici de pintor al segle XVII», Memoria Artium, 11, Bellaterra, Barcelona, Girona, Lleida, Tarragona, 2012
TORRELL PARETA, J.M, «El retaule del Roser de Vallmoll», Quaderns de Vilaniu, 43, 2003, p.131-146
VERDI, Richard, Rembrandt’s Themes: life into art, New Haven, London, Yale University Press, 2014
VAN DE WETTERING, Ernst, «The various functions of Rembrandt’s self-portraits», Kroniek van het Rembrandthuis, 2002, p. 27-42
WIESEMAN, Marjorie E, «The late self portraits», in Rembrandt the Late works, National Gallery London, London, 2014, p. 36-55
Downloads
Published
Issue
Section
License
Copyright (c) 2024 santi Torras Tilló
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
The authors who publish in this journal agree to the following terms:
|