By Anna Tummers, Koenraad Jonckheere

ISBN-10: 9089640320

ISBN-13: 9789089640321

The query even if seventeenthcentury painters equivalent to Rembrandt and Rubens created the work which have been later bought below their names, has prompted many a heated debate. a lot continues to be unknown concerning the ways that work have been produced, assessed, priced, and advertised. for instance, did modern connoisseurs anticipate masters reminiscent of Rembrandt to color their works solely by means of their very own hand? Who used to be credited being able to investigate work? How did a painting’s rate relate to its caliber? and the way did connoisseurship swap because the artwork industry turned more and more complicated? The members to this crucial quantity hint the evolution of connoisseurship within the booming paintings industry of the 17th- and eighteenth centuries. between them are the well known Golden Age students Eric Jan Sluijter, Hans Van Miegroet and Neil De Marchi. it's not to be ignored through someone with an curiosity within the previous Masters and the early smooth paintings marketplace.

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67 Interestingly, Dogger seems unaware of the possibility that master painters could sign works that were not or not entirely executed by themselves, and that signatures could even be falsified. Pick, on the other hand, who had himself been a pupil of Van Aelst, was clearly not impressed by the signature. 68 In a document dated 1606, a certain Mr. 71 Lastly, in a document dated 1658, two witnesses declared that Bartholomeus van der Helst had stated that he had painted a certain picture of Diana and that it was an original, not a copy.

The writer likens Van Mander’s book to a picture of Pittura, the personification of the art of painting. indd 37 07-10-2008 16:33:57 38 ANNA TU M M E R S Mander benefited from those who brought the art of painting to greater heights and thus enriched the art of painting. However, Van Mander deserves to sign the work as an ‘original’ (principael), since he is responsible for the most impressive part: a crown of pearls on Pittura’s head. 35 Admittedly, a lot of research remains to be done as to specific master’s studio habits.

Indd 50 07-10-2008 16:33:59 AR T MAR KET A ND C ONNOISSEURSHIP 51 Together with the design of a picture, the accents that were applied while working up a painting after the main parts had been painted in, were seen as some of the most difficult parts of the painting.

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Art market and connoisseurship : a closer look at paintings by Rembrandt, Rubens and their contemporaries by Anna Tummers, Koenraad Jonckheere


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