List of Rembrandt connoisseurs and scholars

From Wikipedia, the free encyclopedia
Jump to navigation Jump to search

This is a dynamic list and may never be able to satisfy particular standards for completeness. You can help by adding missing items with reliable sources.

Rembrandt Harmenszoon van Rijn in one of the best expertly researched (visual) artists in history.[1][2][3] His life and work have long attracted the attention of multidisciplinary scholarship. The field of Rembrandt studies (i.e. study of Rembrandt's life and work) — as an academic field in its own right with many noted Rembrandt scholars — has been very dynamic and well published since the Dutch Golden Age.

The following is a list of notable Rembrandt experts (e.g. connoisseurs and scholars).

See also

[edit]

References

[edit]
  1. ^ Golahny, Amy (2001), 'The Use and Misuse of Rembrandt: An Overview of Popular Reception,'. Dutch Crossing: Journal of Low Countries Studies 25(2): 305–322
  2. ^ Scallen, Catherine: Rembrandt, Reputation, and the Practice of Connoisseurship. (Amsterdam: Amsterdam University Press, 2004)
  3. ^ Franits, Wayne (ed.): The Ashgate Research Companion to Dutch Art of the Seventeenth Century. (Burlington, VT: Ashgate, 2016)
  4. ^
    • Bauch, Kurt: Die Kunst des Jungen Rembrandt. (Heidelberg: Winter, 1933) [in German]
    • Bauch, Kurt: Der frühe Rembrandt und seine Zeit. Studien zur geschichtlichen Bedeutung seines Frühstils. (Berlin: Verlag Gebr. Mann, 1960) [in German]
    • Bauch, Kurt: Rembrandt Gemälde. (Berlin: W. de Gruyter, 1966) [in German]
    • Bauch, Kurt (1967), 'Ikonographischer Stil: Zur Frage der Inhalte in Rembrandt's Kunst,'. In: Studien zur Kunstgeschichte. (Berlin: De Grayter, 1967), pp. 123–151. [in German]
  5. ^
    • Benesch, Otto: Rembrandt: Werk und Forschung. (Vienna, 1935) [in German]
    • Benesch, Otto: The Drawings of Rembrandt: First Complete Edition in Six Volumes. (London: Phaidon, 1954–57)
    • Benesch, Otto: Rembrandt as a Draughtsman: An Essay with 115 Illustrations. (London: Phaidon Press, 1960)
    • Benesch, Otto: The Drawings of Rembrandt. A Critical and Chronological Catalogue [2nd ed., 6 vols.]. (London: Phaidon, 1973)
    • Benesch, Otto (1956), 'Worldly and Religious Portraits in Rembrandt's Late Art,'. The Art Quarterly 19: 335–355
    • Benesch, Otto (1970), 'Rembrandt's Artistic Heritage: From Goya to Cézanne,'. (Collected Writings, vol. 1, New York, 1970, pp. 57–82)
    • Benesch, Otto (1973), 'Rembrandts Bild bei Picasso,'; in Benesch's Collected Writings, vol. 4 (London, 1973) [in German]
  6. ^
    • Berger, Jr., Harry: Fictions of the Pose: Rembrandt Against the Italian Renaissance. (Stanford, California: Stanford University Press, 2000) ISBN 978-0804733243
    • Berger, Jr., Harry: Manhood, Marriage, and Mischief: Rembrandt's "Night Watch" and Other Dutch Group Portraits. (New York: Fordham University Press, 2007) ISBN 978-0-8232-2557-6
    • Berger, Jr., Harry: The Perils of Uglytown: Studies in Structural Misanthropology from Plato to Rembrandt. (New York: Fordham University Press, 2015)
  7. ^
    • Bevers, Holm: Rembrandt: Die Zeichnungen im Berliner Kupferstichkabinett [Kritischer Katalog]. (Ostfildern: Hatje Cantz, 2006) [in German]
    • Bevers, Holm; Kettner, Jasper; Metze, Gudula (eds.): Rembrandt. Ein Virtuose der Druckgraphik. (Kupferstichkabinett, Staatliche Museen zu Berlin, 2006) [in German]
    • Bevers, Holm: Rembrandt: Drawings from the Berlin Kupferstichkabinett. (Ostfildern: Hatje Cantz, 2007) ISBN 9783775719247
    • Bevers, Holm; Rumberg, Per: Rembrandt's First Masterpiece [exh. cat.]. (New York: Morgan Library and Museum, 2016)
    • Bevers, Holm; et al.: Drawings by Rembrandt and His Pupils: Telling the Difference. (Los Angeles, CA: The J. Paul Getty Museum, 2009)
    • Bevers, Holm; Kelch, Jan; Lindemann, Bernd Wolfgang; Seifert, Christian Tico (eds.): Rembrandt – Wissenschaft auf der Suche. Beiträge des Internationalen Symposiums Berlin, 4.-5. November 2006 [Jahrbuch der Berliner Museen. Neue Folge. Vol. 51, Beiheft]. (Berlin: Gebr. Mann Verlag, 2009) ISBN 978-3-7861-2563-1 [in German]
  8. ^
    • Białostocki, Jan; Michałkowa, Janina (eds.): Rembrandt w oczach współczesnych. (Warszawa: Państwowy Instytut Wydawniczy, 1957) [in Polish]
    • Białostocki, Jan (1957), 'Bellori's Caravaggio and Sandrart's Rembrandt,'. Burlington Magazine 99(653): 274–275
    • Białostocki, Jan (1957), 'Ikonographische Forschungen zu Rembrandts Werk,'. Münchner Jahrbuch der Bildenden Kunst 8: 195–210. [in German]
    • Białostocki, Jan (1966), 'Rembrand's "Terminus": To Wolfgang Stechow,'. Wallraf-Richartz-Jahrbuch 28: 49–60
    • Białostocki, Jan (1968), 'Rembrandt's 'Eques Polonus','. Oud Holland: Journal for Art of the Low Countries 84(2/3): 163–176. JSTOR 42712350
    • Białostocki, Jan (1972), 'Rembrandt and Posterity,'. Nederlands Kunsthistorisch Jaarboek 23 (1972): 131–157. JSTOR 24705655
    • Białostocki, Jan (1973), 'Der Sünder als tragischer Held bei Rembrandt. Bemerkungen zu neueren ikonographischen Studien über Rembrandt,'; in: von Simson, Otto Georg; Kelch, Jan (hrsg.): Neue Beiträge zur Rembrandt-Forschung. (Berlin: Mann, 1973), pp. 137–154. [in German]
    • Białostocki, Jan (1984), 'A New Look at Rembrandt Iconography,'. Artibus et Historiae 5(10): 9–19
  9. ^
    • Bockemühl, Michael: Rembrandt: Zum Wandel des Bildes und seiner Anschauung im Spätwerk. (Mittenwald: Mäander Verlag, 1981) [in German]
    • Bockemühl, Michael: Rembrandt, 1606–1669. Das Rätsel der Erscheinung. (Köln: Benedikt Taschen Verlag, 1991) [in German]
  10. ^
    • Von Bode, Wilhelm; de Groot, Cornelis Hofstede: The Complete Work of Rembrandt: History, Description and Heliographic Reproduction of All the Master's Pictures, with a Study of His Life and Art. [8 vols.]. (Paris: Charles Sedelmeyer, 1897–1906)
    • Von Bode, Wilhelm: Rembrandt und seine Zeitgenossen: Charakterbilder der grossen Meister der holländischen und vlämischen Malerschule im siebzehnten Jahrhundert. (Leipzig: E. A. Seemann Verlag, 1907) [in German]
    • Von Bode, Wilhelm: Studien zur Geschichte der holländischen Malerei [Studies in the history of Dutch painting]. (Brunswick: Friedrich Viewege, 1883) [in German]
  11. ^
  12. ^
    • Bredius, Abraham: The Paintings of Rembrandt. (London: Phaidon, 1937)
    • Bredius, Abraham: Rembrandt: The Complete Edition of the Paintings, 3rd ed. [Revised by Horst Gerson]. (London: Phaidon Press, 1969)
  13. ^
    • Broos, B.P.J.: Oude tekeningen in het bezit van de Gemeentemusea van Amsterdam waaronder de collectie Fodor [Deel 3]: Rembrandt en tekenaars uit zijn omgeving. (Amsterdam: Amsterdams Historisch Museum, 1981) [in Dutch]
    • Broos, B.P.J.: Rembrandt en zijn voorbeelden [Rembrandt and his sources]. (Amsterdam: Museum Het Rembrandthuis, 1985) [in Dutch]
    • Broos, B.P.J.: Rembrandt studies. (Ph.D. diss., Universiteit Utrecht, 1977) [in Dutch]
    • Broos, B.P.J.: Index to the Formal Sources of Rembrandt's Art. (Maarssen, Netherlands: Gary Schwartz, 1977)
    • Broos, B.P.J.: Het Rembrandt boek. (Zwolle: Waanders, 2006) ISBN 9040091110 [in Dutch]
    • Broos, B.P.J.: Saskia, de vrouw van Rembrandt. (Zwolle: Wbooks, 2012) [in Dutch]
    • Broos, B.P.J. (1971), 'The 'O' of Rembrandt,'. Simiolus: Netherlands Quarterly for the History of Art 4(3): 150–84
    • Broos, B.P.J. (1974), 'Rembrandt's Portrait of a Pole and His Horse,'. Simiolus: Netherlands Quarterly for the History of Art 7(4): 192–218
    • Broos, B.P.J. (1976), 'Rembrandt and Lastman's "Coriolanus": The History Piece in 17th-Century Theory and Practice,'. Simiolus: Netherlands Quarterly for the History of Art 8(4): 199–228
    • Broos, B.P.J. (1999), 'Rembrandt and His Picturesque Universe: The Artist's Collection as a Source of Inspiration,'. In: Rembrandt's Treasures, ed. Bob van den Boogert [exh. cat.]. (Amsterdam: Rembrandt House Museum; Zwolle: Waanders Publishers, 1999), pp. 91–13
    • Broos, B.P.J. (2009), 'Rembrandt & Saskia: Recent Research,'. Jahrbuch der Berliner Museen 51. Bd., Beiheft. Rembrandt — Wissenschaft auf der Suche. Beiträge des Internationalen Symposiums Berlin — 4. und 5. November 2006 (2009): 9–15. JSTOR 25674330
    • Broos, B.P.J. (2013), 'The Young Samuel van Hoogstraten Corrected by Rembrandt,'. In: The Universal Artof Samuel van Hoogstraten (1627–1678): Painter, Writer and Courtier, edited by Thijs Weststeijn. (Amsterdam: Amsterdam University Press, 2013), pp. 77–95
  14. ^
    • Bruyn, J.; et al.: A Corpus of Rembrandt Paintings [Volume I, Stichting Foundation Rembrandt Research Project]. (The Hague/Dordrecht/Boston: Martinus Nijhoff, 1982)
    • Bruyn, J.; et al.: A Corpus of Rembrandt Paintings [Volume II, Stichting Foundation Rembrandt Research Project]. (Dordrecht/Boston: Martinus Nijhoff, 1982)
    • Bruyn, J. (1970), 'Rembrandt and the Italian Baroque,'. Simiolus: Netherlands Quarterly for the History of Art 4: 28–48
    • Bruyn, J. (1990), 'An Unknown Assistant in Rembrandt's Workshop in the Early 1660s,'. The Burlington Magazine 132(1051): 714–718
  15. ^
    • Carroll, Margaret D.: Rembrandt's Nightwatch and the Iconological Traditions of Militia Company Portraiture in Amsterdam. (Ph.D. diss., Harvard University, 1976)
    • Carroll, Margaret D.: Painting and Politics in Northern Europe: Van Eyck, Bruegel, Rubens, and Their Contemporaries. (University Park, PA: Penn State University Press, 2008) ISBN 9780271029559
    • Carroll, Margaret D. (1981), 'Rembrandt as Meditational Printmaker,'. The Art Bulletin 63(4): 585–610
    • Carroll, Margaret D. (1984), 'Rembrandt's "Aristotle": Exemplary Beholder,'. Artibus et Historiae 5(10): 35–56
    • Carroll, Margaret D. (2017), 'The Blade and the Brush: Rembrandt's Slaughtered Ox and Anatomy of Doctor Deyman'. Oxford Art Journal 40(3): 347–369. doi:10.1093/oxartj/kcx035
  16. ^
    • Chapman, H. Perry: The Image of the Artist: Roles and Guises in Rembrandt's Self-Portraits. (Ph.D. diss., Princeton University, 1983)
    • Chapman, H. Perry: Rembrandt's Self-Portraits: A Study Seventeenth-Century Identity. (Princeton, N.J.: Princeton University Press, 1990)
    • Chapman, H. Perry (2005), 'The Imagined Studios of Rembrandt and Vermeer,'. In: Inventions of the Studio, Renaissance to Romanticism, edited by Michael Cole and Mary Pardo. (Chapel Hill, NC: University of North Carolina Press, 2005), pp. 108–46
    • Chapman, H. Perry (2010), 'Reclaiming the Inner Rembrandt: Passion and Rembrandt's Earliest Self-Portraits,'. In: The Passions in the Art of the Early Modern Netherlands, edited by Herman Roodenburg and Stephanie Dickey. Nederlands Kunsthistorisch Jaarboek 60 (2010): 188–215
    • Chapman, H. Perry (2014), 'Rembrandt's Laughter and the Love of Art,'. In: Midwestern Arcadia: Essays in honor of Alison Kettering. Northfield, 2014
    • Chapman, H. Perry (2014), 'Rembrandt and Caravaggio: Emulation without Imitation,'. In: Caravaggio: Reflections and Refractions, edited by Lorenzo Pericolo and David M. Stone. (Aldershot and Burlington, VT: Ashgate, 2014), pp. 273–300
    • Chapman, H. Perry (2017), 'Rubens, Rembrandt, and the Spousal Model/Muse,'. In: Melion, Walter; Woodall, Joanna; Zell, Michael: Ut pictura amor: The Reflexive Imagery of Love in Artistic Theory and Practice, 1500–1700. (Leiden: Brill, 2017)
  17. ^
    • Crenshaw, Paul: Rembrandt's Bankruptcy. (Ph.D. thesis, Institute of Fine Arts, New York University, 2000)
    • Crenshaw, Paul: Rembrandt's Bankruptcy: The Artist, his Patrons, and the Art market in Seventeenth-Century Netherlands. (Cambridge and New York: Cambridge University Press, 2006) ISBN 978-0521858250
    • Crenshaw, Paul; Herndon-Consagra, Francesca: Rembrandt: Master Etchings from St. Louis Collections [exh. cat.]. (St. Louis, Missouri: St. Louis Art Museum, 2006)
    • Crenshaw, Paul (2001), 'Rembrandt's Disputes with His Patrons,'. Dutch Crossing: A Journal of Low Countries Studies 25(2): 162–99. doi:10.1080/03096564.2001.11730797
    • Crenshaw, Paul (2013), 'The Catalyst for Rembrandt's Satire on Art criticism,'. JHNA: Journal of Historians of Netherlandish Art 5(2). doi:10.5092/jhna.2013.5.2.9
    • Crenshaw, Paul (2017), 'Rembrandt and Hals Visit the Arundel Collection,'. JHNA: Journal of Historians of Netherlandish Art 9(1). doi:10.5092/jhna.2017.9.1.7
  18. ^
    • De Winkel, Marieke; Manuth, Volker: Rembrandt's Minerva in Her Study of 1635: The Splendor and Wisdom of a Goddess. (New York: Otto Naumann, 2002)
    • De Winkel, Marieke: Fashion and Fancy: Dress and Meaning in Rembrandt's Paintings. (Amsterdam: Amsterdam University Press, 2006) ISBN 90-5356-917-0
    • De Winkel, Marieke; Manuth, Volker: Rembrandt: The Self-Portraits. (London: Taschen, 2019) ISBN 3836577003
    • De Winkel, Marieke; Manuth, Volker; van Leeuwen, Rudie: Rembrandt: The Complete Paintings. (London: Taschen, 2019) ISBN 3836526328
    • De Winkel, Marieke (2005), "Rembrandt's Clothes: Dress and Meaning in His Self-Portraits,". In: Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt Paintings, 6 vols., ed. Josua Bruyn et al. (Dordrecht, Boston, and London, 1982–2014), 4: 45–87
  19. ^
    • Dickey, Stephanie S.: Rembrandt Harmensz van Rijn: The Illustrated Bartsch, Vol. 50 [Supplement]. (New York: Abaris Books, 1993)
    • Dickey, Stephanie S.: Prints, Portraits and Patronage in Rembrandt's Work around 1640. (Ph.D. diss., New York University, 1994)
    • Dickey, Stephanie S.: Rembrandt: Portraits in Print. (Amsterdam/Philadelphia: John Benjamins, 2004)
    • Dickey, Stephanie S.: Rembrandt Face to Face. (Indianapolis, IN: Indianapolis Museum of Art, 2006)
    • Dickey, Stephanie S. (1986), 'Judicious Negligence: Rembrandt Transforms an Emblematic Convention,'. Art Bulletin 68: 253–262
    • Dickey, Stephanie S. (1996), 'Mennonite Martyrdom in Amsterdam and the Art of Rembrandt and His Contemporaries,'. Proceedings of the American Association of Netherlandic Studies 9: 81–103
    • Dickey, Stephanie S. (2007), 'Rethinking Rembrandt's Renaissance,'. Canadian Journal of Netherlandic Studies 21: 1–22
    • Dickey, Stephanie S. (2011), 'Saskia as Glycera: Rembrandt's Emulation of an Antique Prototype,'. In: Anton Boschloo, et al. (eds.), Aemulatio: Emulation, Imitation, and Invention in Netherlandish Art. (Amsterdam: Waanders, 2011), pp. 233–247
    • Dickey, Stephanie S. (2012), 'Strategies of Self-Portraiture from Hans von Aachen to Rembrandt,'. In: Lubmomír Konecny & Stepán Vácha (eds.), Hans von Aachen in Context: Proceedings of the International Conference, Prague, 22–25 September 2010. (Prague: Artefactum, 2012), pp. 72–81
    • Dickey, Stephanie S. (2013), 'Begging for Attention: The Artful Context of Rembrandt's Etching Beggar Seated on a Bank,'. JHNA: Journal of Historians of Netherlandish Art 5(2). doi:10.5092/jhna.2013.5.2.8
    • Dickey, Stephanie S. (2015), 'Contentione perfectus: Rembrandt and Annibale Carracci,'. In: Una Roman D'Elia (ed.), Rethinking Renaissance Drawings: Essays in Honour of David McTavish. (Montreal: McGill/Queens Press, 2015), pp. 262–277
    • Dickey, Stephanie S. (2016), 'Rembrandt and his Circle,'. In: Wayne Franits (ed.), The Ashgate Research Companion to Dutch Art of the Seventeenth Century. (Aldershot: Ashgate, 2016), pp. 169–201
    • Dickey, Stephanie (2017), 'Disgust and Desire: Responses to Rembrandt's Nudes,'. In: Debra Cashion, Henry Luttikhuizen and Ashley West, The Primacy of the Image in Northern European Art, 1400–1700. Essays in Honor of Larry Silver. (Brill, 2017) ISBN 978-90-04-35412-8), pp. 447–460
    • Dickey, Stephanie (2017), 'Agape, Caritas, and Conjugal Love in Paintings by Rembrandt and Van Dyck,'. In: Walter S. Melion, Joanna Woodall, and Michael Zell (eds.), Ut Pictura Amor: The Reflexive Imagery of Love in Artistic Theory and Practice, 1500–1700. (Leiden/Boston: Brill, 2017), pp. 299–323
    • Dickey, Stephanie S. (2017), 'Introduction: Rising Stars in Rembrandt's Amsterdam,'. In: Stephanie S. Dickey (ed.), Ferdinand Bol and Govert Flinck: New Reearch. (Zwolle: W. Books, 2017), pp. 6–19
  20. ^
    • Golahny, Amy: Rembrandt's Paintings and the Venetian Tradition. (Ph.D. diss., Columbia University, 1984)
    • Golahny, Amy: Rembrandt's Reading: The Artist's Bookshelf of Ancient Poetry and History. (Amsterdam: Amsterdam University Press, 2003) ISBN 90-5356-609-0
    • Golahny, Amy (1983), 'Rembrandt's Early 'Bathsheba': The Raphael Connection,'. The Art Bulletin 65(4): 671–675. doi:10.1080/00043079.1983.10788120
    • Golahny, Amy (1999), 'Rembrandt's Practical Approach to Italian Art: Three Variations,'. The Low Countries 7: 123–31
    • Golahny, Amy (2000), 'Rembrandt's "Artemisia": Arts Patron,'. Oud Holland 14(2/4): 139–152. JSTOR 42712021
    • Golahny, Amy (2001), 'Reception: Reflections on Rembrandt,'. Dutch Crossing: Journal of Low Countries Studies 25(2): 159–161. doi:10.1080/03096564.2001.11730796
    • Golahny, Amy (2001), 'The Use and Misuse of Rembrandt: An Overview of Popular Reception,'. Dutch Crossing: Journal of Low Countries Studies 25(2): 305–322
    • Golahny, Amy (2002), 'Rembrandt's Drawing of "Pyrrhus and Fabricius": A New Interpretation,'. Master Drawings 40(3): 243–248. JSTOR 1554524
    • Golahny, Amy (2007), 'Selective Attention: Julius S. Held's Rembrandt Studies,'. Oud Holland: Journal for Art of the Low Countries 120(3/4): 181–190. JSTOR 42711736
    • Golahny, Amy (2009), 'Rembrandt and Italy: Beyond the disegno-colore Paradigm,'. Jahrbuch der Berliner Museen Neue Folge 51: 113–120
    • Golahny, Amy (2011), 'Rembrandt's Callisto: Unusual but not Unique,'. In: A. Boschloo, et al. (eds.): Aemulatio, Imitation, Emulation and Invention in Netherlandish Art from 1500 to 1800. Essays in honor of Eric Jan Sluijter. (Zwolle: Waanders, 2011), pp. 318–25
    • Golahny, Amy (2012), 'Lievens and Rembrandt: Parallels and Divergences,'. The Low Countries 20: 189–92
    • Golahny, Amy (2016), 'Rembrandt and "Everyday Life": The Fusion of Genre and History,'. In: Genre Imagery in Early Modern Northern Europe: New Perspectives, edited by Arthur J. DiFuria. (New York: Routledge, 2016), pp. 161–183
    • Golahny, Amy (2017), 'Early Reception of Rembrandt's Hundred Guilder Print: Jan Steen's Emulation,'. JHNA: Journal of Historians of Netherlandish Art 9(1). doi:10.5092/jhna.2017.9.1.10
  21. ^
    • Haverkamp-Begemann, Egbert; Judson, J. Richard; Logan, Anne-Marie: Rembrandt after Three Hundred Years: An Exhibition of Rembrandt and His Followers. (Chicago: Art Institute of Chicago, 1969)
    • Haverkamp-Begemann, Egbert: Rembrandt's The Nightwatch. (Princeton, NJ: Princeton University Press, 1982)
    • Haverkamp-Begemann, Egbert (1963), 'Rembrandt's So-Called Portrait of Anna Wymer as Minerva,'. In: Studies in Western Art: Acts of the Twentieth International Congress of the History of Art, New York, 1961, 3: 59–63
    • Haverkamp-Begemann, Egbert (1967), 'Purpose and Style: Oil Sketches of Rubens, Jan Brueghel, Rembrandt,'. In: Akten des 21. Internationalen Kongresses für Kunstgeschichte in Bonn 1964: Stil und Überlieferung in der Kunst des Abendlandes, 3: 104–13
    • Haverkamp-Begemann, Egbert (1971), 'The Present State of Rembrandt Studies,'. The Art Bulletin 53(1): 88–104
    • Haverkamp-Begemann, Egbert (1971), 'The Sketch, Its Function in the Hands of Three Masters: Rubens, Rembrandt, Jan Brueghel,'. Art News Annual 37: 57–74
    • Haverkamp-Begemann, Egbert (1972), 'Rembrandt as Teacher,'. In: Actes du XXIIe Congres International d'histoire de l'art. Budapest 1969: Evolution generale et développements régionaux en histoire de l'art, edited by György Rósza, pp. 105–13
    • Haverkamp-Begemann, Egbert (1973), 'Rembrandt's Night Watch and the Triumph of Mordecai,'. In: Album Amicorum J. G. van Gelder, edited by Joos Bruyn, et al., (The Hague: Martinus Nijhoff, 1973), pp. 5–8
    • Haverkamp-Begemann, Egbert (1989), 'Rembrandt as a Draughtsman: The Changing Image 1956–1988,'. Master Drawings 27(2): 105–10
    • Haverkamp-Begemann, Egbert (2005), 'Rembrandt's Drawing The Raising of the Cross in the Museum of Fine Arts, Boston,'. In: The Learned Eye: Regarding Art, Theory, and the Artist’s Reputation. Essays for Ernst van de Wetering, edited by Marieke van den Doel, et al. (Amsterdam: Amsterdam University Press, 2005), pp. 39–46
  22. ^
    • Held, Julius S.: Rembrandt and the Book of Tobit. (Northampton, MA: The Gehenna Press, 1964)
    • Held, Julius S.: Rembrandt's Aristotle and Other Rembrandt Studies. (Princeton, N.J.: Princeton University Press, 1969)
    • Held, Julius S.: Rembrandt-Studien. (Leipzig: E. A. Seemann Verlag, 1983) [in German]
    • Held, Julius S.: Rembrandt Studies, revised and expanded edition. (Princeton, N.J.: Princeton University Press, 1991)
    • Held, Julius S. (1944), 'Rembrandt's "Polish" Rider,'. The Art Bulletin 26(4): 246–265
    • Held, Julius S. (1984), 'A Rembrandt "Theme",'. Artibus et Historiae 5(10): 21–34
  23. ^
    • Hinterding, Erik: The Fortunes of Rembrandt's Copper Plates. (Amsterdam: Museum Het Rembrandthuis, 1993)
    • Hinterding, Erik: Rembrandt als etser. Twee studies naar de praktijk van productie en verspreiding. (Ph.D. diss., Universiteit Utrecht, 2001) [in Dutch]
    • Hinterding, Erik: Rembrandt as an Etcher: The Practice of Production and Distribution. (Ouderkerk aan den IJssel, Netherlands: Sound and Vision Publishers, 2006)
    • Hinterding, Erik; Schatborn, Peter: Rembrandt: The Complete Drawings and Etchings. (London: Taschen, 2019) ISBN 9783836575447
  24. ^
    • Rembrandt's Jews (University of Chicago Press, 2003) - Finalist for the Pulitzer Prize for General Non-Fiction in 2004.[10] ISBN 0-226-56737-0
    • Steven Nadler and Victor Tiribás (2021). Rembrandt’s Etchings for Menasseh ben Israel’s Piedra Gloriosa: A Mystery Solved? Kroniek van het Rembrandthuis 2021, 1-17, https://doi.org/10.48296/KvhR2021.01
  25. ^
    • Perlove, Shelley: By this blood most chaste…’: Passion and Politics in Rembrandt’s Lucretia of 1666, in Walter S. Melion and Art di Furia, eds. Ekphrastic Image-Making in the Early Modern Europe and the Americas 1500-1700. Leiden, Brill: 2022, Chapter 15, 650-684.
    • Perlove, Shelley: An Irenic Vision of Utopia: Rembrandt's Triumph of Mordecai and the New Jerusalem. Zeitschrift für Kunstgeschichte, vol. 56 (1993): 38-60.
    • Perlove, Shelley; Silver, Larry: Rembrandt's Faith: Church and Temple in the Dutch Golden Age. (University Park, PA: Pennsylvania State University Press, 2009) ISBN 978-0-271-03406-5
    • Perlove, Shelley; Silver, Larry (2007), 'Rembrandt and the Dutch Catholics,'. Canadian Journal of Netherlandic Studies / Revue canadienne d'études néerlandaises 28: 53–75
  26. ^
    • Rosenberg, Jakob: Rembrandt [2 vols.]. (Cambridge, MA: Harvard University Press, 1948)
    • Rosenberg, Jakob: Rembrandt: Life and Work [revised edition]. (Ithaca, NY: Cornell University Press, 1980)
    • Rosenberg, Jakob (1956), 'Rembrandt the Draughtsman with Consideration of the Problem of Authenticity,'. Daedalus 86(2): 122–136
  27. ^
    • Royalton-Kisch, Martin: Drawings by Rembrandt and His Circle in the British Museum. (London: British Museum Press, 1992)
    • Royalton-Kisch, Martin; Hinterding, E.; Luijten, G.: Rembrandt the Printmaker. (British Museum Press, 2000)
    • Ekserdjian, David; Royalton-Kisch, Martin (2000), 'The Entombment of Christ: A Lost Mantegna Owned by Rembrandt?,'. Apollo 151(457): 52–56
    • Royalton-Kisch, Martin (1989), 'Rembrandt's Sketches for His Paintings,'. Master Drawings 27(2): 128–145
    • Royalton-Kisch, Martin (1991), 'Rembrandt's Drawing of "The Entombment of Christ" over "The Raising of Lazarus",'. Master Drawings 29(3): 263–283
    • Royalton-Kisch, Martin (1993), 'Rembrandt, Zomer, Zanetti and Smith,'. Print Quarterly 10(2): 111–122
    • Royalton-Kisch, Martin (2000), 'From Rembrandt to Van Renesse: Some Re-Attributed Drawings,'. The Burlington Magazine 142(1164): 157–164
    • Royalton-Kisch, Martin; Schatborn, Peter (2011), 'The Core Group of Rembrandt Drawings, II: The List,'. Master Drawings 49(3): 323–346
  28. ^
    • Scallen, Catherine B.: Rembrandt and Saint Jerome. (Ph.D. diss., Princeton University, 1990)
    • Scallen, Catherine B.: Rembrandt, Reputation, and the Practice of Connoisseurship. (Amsterdam: Amsterdam University Press, 2004)
    • Scallen, Catherine B. (1997), 'Rembrandt's Nocturne Prints,'. Art On Paper 1(3): 13–17
    • Scallen, Catherine B. (1998), 'Rembrandt and the Northern Renaissance,'. In: Laurinda S. Dixon, ed., In Detail: New Studies of Northern Renaissance Art in Honor of Walter S. Gibson, Turnhout, 1998, pp. 135–150
    • Scallen, Catherine B. (1999), 'Rembrandt's Reformation of a Catholic Subject: the Repentant and the Penitent Saint Jerome,'. Sixteenth Century Journal 30(1): 71–88
    • Scallen, Catherine B. (2001), 'Guarding the Borders of Rembrandt Connoisseurship,'. Dutch Crossing: Journal of Low Countries Studies 25(2): 291–304. doi:10.1080/03096564.2001.11730801
    • Scallen, Catherine B. (2002), 'Rembrandt in the Nineties,'. In: Alan Chong and Michael Zell, eds., Rethinking Rembrandt, Boston and Zwolle, 2002
    • Scallen, Catherine B. (2006), 'Connoisseurships of Rembrandt,'. In: Michiel Roscam Abbing, ed., Around Rembrandt. Collected Essays on the Occasion of Rembrandt’s 400th Anniversary, Foleor Press, 2006, pp. 63–73
    • Scallen, Catherine B. (2009), 'The Global Rembrandt,'. In: Crossing Cultures: Conflict, Migration and Convergence: The Proceedings of the 32nd International Congress in the History of Art, edited by Jaynie Anderson. (Carlton: Miegunyah Press, 2009), pp. 263–267
    • Scallen, Catherine B. (2017), 'Do mistakes always matter? Jakob Rosenberg's Rembrandt Life and Work','. Journal of Art Historiography 16 (June 2017)
  29. ^
    • Schatborn, Peter; van Sloten, Leonore: Oude tekeningen, nieuwe namen. Rembrandt en zijn tijdgenoten [Old drawings, new names. Rembrandt and his contemporaries]. (Varik: Uitgeverij de Weideblik, 2014) ISBN 9789077767443 [in Dutch]
    • Hinterding, Erik; Schatborn, Peter: Rembrandt: The Complete Drawings and Etchings. (London: Taschen, 2019) ISBN 9783836575447
    • Schatborn, Peter: Drawings by Rembrandt, His Anonymous Pupils and Followers. Translated from the Dutch by Wulfert and Patricia Wardle. (Amsterdam: Rijksmuseum; The Hague: Staatsuitgerverij, 1985)
    • Schatborn, Peter: Rembrandt and His Circle: Drawings in the Frits Lugt Collection [2 vols.]. (Bussum: Thoth; Paris: Fondation Custodia, 2010)
    • Schatborn, P. (1989), 'Notes on Early Rembrandt Drawings,'. Master Drawings 27(2): 118–127
    • Schatborn, P.; et al. (2011), 'The Core Group of Rembrandt Drawings,'. Master Drawings 49: 293–351
  30. ^
    • Schirillo, James A. (2000), 'Hemispheric asymmetries and gender influence Rembrandt's portrait orientations,'. Neuropsychologia 38(12): 1593–606
    • Schirillo, James A.; Susi, T.; Burdette, J.; Laurienti, P. (2002), 'Viewing portraits by Rembrandt: fMRI reveals cerebellar and prefrontal cortical involvement,'. Journal of Vision 2(7): 593. doi:10.1167/2.7.593
    • Schirillo, James A.; Fox, Melissa A. (2006), 'Rembrandt's Portraits: Approach or Avoid?,'. Leonardo 29(3): 253–256
    • Schirillo, James A. (2007), 'Gender's effect on the hemispheric laterality of Rembrandt's portraits,'. Spatial Vision 21: 19–26. doi:10.1163/156856807782753859
    • Schirillo, James A.; J. Powell, W.R. (2008), 'Fearing Rembrandt's male portraits (Hess Revisited),'. Journal of Vision 8(6): 711. doi:10.1167/8.6.711
    • Schirillo, James A.; Powell, W.R. (2011), 'Hemispheric laterality measured in Rembrandt's portraits using pupil diameter and aesthetic verbal judgements,'. Cognition & Emotion 25(5): 868–885. doi:10.1080/02699931.2010.515709
    • Schirillo, James A. (2013), 'Pupil dilations reflect why Rembrandt biased female portraits leftward and males rightward,'. Frontiers in Human Neuroscience 7: 938. doi:10.3389/fnhum.2013.00938
  31. ^
    • Schwartz, Gary: De Grote Rembrandt. (Zwolle: Waanders, 2006) [in Dutch]
    • Schwartz, Gary: The Rembrandt Book. (New York: Harry N. Abrams, 2006)
    • Schwartz, Gary: Rembrandt's Universe: His Art, His Life, His World. (London: Thames & Hudson, 2006)
    • Schwartz, Gary: Meet Rembrandt: Life and Work of the Master Painter. (New Haven, CT: Yale University Press, 2010)
  32. ^
  33. ^
    • Slive, Seymour: Rembrandt and his Critics, 1630–1730. (The Hague: Martinus Nijhoff, 1953)
    • Slive, Seymour: Rembrandt Drawings. (Los Angeles, CA: J. Paul Getty Museum, 2009)
    • Slive, Seymour: The Drawings of Rembrandt: A New Study. (London: Thames & Hudson, 2009)
    • Silve, Seymour: The Drawings of Rembrandt. (London: Thames & Hudson, 2019)
    • Slive, Seymour (1953), 'Rembrandt and His Contemporary Critics,'. Journal of the History of Ideas 14(2): 203–220
    • Slive, Seymour (1964), 'Rembrandt's 'Self-Portrait in a Studio','. The Burlington Magazine 106(740): 482–487
    • Slive, Seymour (1965), 'An Unpublished Head of Christ by Rembrandt,'. The Art Bulletin 47(4): 407–417. JSTOR 3048299
  34. ^
    • Sluijter, Eric Jan: Rembrandt and the Female Nude. (Amsterdam: Amsterdam University Press, 2006) ISBN 978-90-5356-876-7
    • Sluijter, Eric Jan: Rembrandt's Rivals: History painting in Amsterdam, 1630–1650 [Oculi: Studies in the Arts of the Low Countries, vol. 14]. (Amsterdam/Philadelphia: John Benjamins Publishing, 2015)
    • Sluijter, E.J. (1999), 'Emulating Sensual Beauty: Representations of Danaë from Gossaert to Rembrandt,'. Simiolus: Netherlands Quarterly for the History of Art 27(1/2): 4–45
    • Sluijter, E.J. (2009), 'Rembrandt and the Rules of Art Revisited,'. Jahrbuch der Berliner Museum 51: 121–129
    • Sluijter, E.J. (2010), 'Rembrandt's Portrayal of the Passions and Vondel's ‘Staetveranderinge’,'. Nederlands Kunsthistorisch Jaarboek 60: 285–304
    • Sluijter, E.J. (2014), 'How Rembrandt surpassed the Ancients, Italians and Rubens as the Master of ‘the Passions of the Soul','. BMGN – Low Countries Historical Review 129(2): 63–89. doi:10.18352/bmgn-lchr.9541
    • Sluijter, E.J. (2017), 'Breenbergh and Rembrandt in Dialogue,'. JHNA: Journal of Historians of Netherlandish Art 9(1). doi:10.5092/jhna.2017.9.1.8
  35. ^
    • Sumowski, Werner: Drawings of the Rembrandt School [10 vols.]. Edited and translated by Walter L. Strauss. (New York: Abaris Books, 1979–1992)
    • Sumowski, Werner: Gemälde der Rembrandt-Schüler in vier Bänden [6 vols.]. (Landau in der Pfalz: Edition PVA, 1983) [in German]
  36. ^
    • Tümpel, Christian: Rembrandt mit Selbstzeugnissen und Bilddokumenten. (Reinbeck bei Hamburg: Rowohlt, 1977) [in German]
    • Tümpel, Christian: Rembrandt: Mythos und Methode. (Königstein im Taunus: Langewiesche, 1986) [in German]
    • Tümpel, Christian: Rembrandt: All the Paintings in Colour. (Antwerp: Fonds Mercator, 1993)
    • Tümpel, Christian; Tümpel, Astrid: Rembrandt: Images and Metaphors. (London: Haus Books, 2006)
    • Tümpel, Christian; et al.: Rembrandt en de Bijbel. (Zwolle: Waanders, 2006) ISBN 978-90-400-8283-2
    • Tümpel, Christian (1968), 'Ikonographische Beiträge zu Rembrandt. Zur Deutung und Interpretation seiner Historien,'. Jahrbuch der Hamburger Kunstsammlungen 13: 95–126. [in German]
    • Tümpel, Christian (1969), 'Studien zur Ikonographie der Historien Rembrandts. Deutung und Interpretation der Bildinhalte,'. Nederlands Kunsthistorisch Jaarboek 20: 107–198. [in German]
    • Tümpel, Christian (1971), 'Ikonographische Beiträge zu Rembrandt. Zur Deutung und Interpretation einzelner Werke,'. Jahrbuch der Hamburger Kunstsammlungen 16: 20–38. [in German]
  37. ^
    • Valentiner, Wilhelm R.: Rembrandt und seine Umgebung. (Straßburg: Heitz & Mündel, 1905) [in German]
    • Valentiner, Wilhelm R.: Rembrandt in Bild und Wort, ed. Wilhelm von Bode. (Berlin: Rich Bong Kunstverlag, 1907) [in German]
    • Valentiner, Wilhelm R.: Rembrandt: Des Meisters Gemälde [3rd revised edition] (Klassiker der Kunst in Gesamtausgaben 2). (Stuttgart/Leipzig: Deutsche-Verlags Anstalt, 1909) [in German]
    • Valentiner, Wilhelm R.: Rembrandt: Wiedergefundene Gemälde, 1910–1922 [revised ed.] (Klassiker der Kunst in Gesamtausgaben 27). (Stuttgart: Deutsche-Verlags Anstalt, 1923) [in German]
    • Valentiner, Wilhelm R.: Rembrandt Paintings in America [2 vols.]. (New York, 1931)
    • Valentiner, Wilhelm R.: Rembrandt: Des Meisters Handzeichnungen [2 vols.]. (Stuttgart/Berlin/Leipzig: Deutsche Verlags-Anstalt, 1925–34) [in German]
    • Valentiner, Wilhelm R.: Rembrandt and Spinoza: A Study of the Spiritual Conflicts in Seventeenth-Century Holland. (London: Phaidon Press, 1957)
    • Valentiner, Wilhelm R. (1931), 'Rembrandt Drawings in the Havemeyer Collection,'. Metropolitan Museum Studies 3(2): 135–146
    • Valentiner, Wilhelm R. (1948), 'Rembrandt's Conception of Historical Portraiture,'. Art Quarterly 11(1948): 117–135
  38. ^
    • Weber, Gregor J.M.; Hartog Jager, Hans den; Nooteboom, Cees: Rembrandt-Velázquez: Nederlandse en Spaanse meesters. (Amsterdam: Rijksmuseum Amsterdam, 2019) [in Dutch]
    • Bikker, Jonathan; Weber, Gregor J. M.; et al.: Rembrandt: The Late Works [National Gallery London]. (London: The National Gallery, 2014) ISBN 978-1857095579
    • Bikker, Jonathan; Weber, Gregor J. M.; et al.: Rembrandt: Les années de plénitude. (Bruxelles: Fonds Mercator, 2014) [in French]
    • Bikker, Jonathan; Weber, Gregor J. M.; et al.: Der späte Rembrandt. (München: Hirmer Verlag, 2014) [in German]
    • Weber, Gregor J.M.: Rembrandt im Kontrast. Die Blendung Simsons und Der Segen Jakobs. (München: Hirmer; Kassel: Staatliche Museen Kassel, 2005) [in German]
    • Weber, Gregor J. M. (2017), 'Rembrandt in Kassel: The Relativity of Eighteenth-Century Connoisseurship,'. Kyoto Studies in Art History 2: 73-82. doi:10.14989/229461
  39. ^
    • White, Christopher: Rembrandt and His World. (London: Thames and Hudson, 1964)
    • White, Christopher: Rembrandt. (New York: Thames & Hudson, 1984)
    • White, Christopher; Alexander, David; D'Oench, Ellen: Rembrandt in Eighteenth-Century England. (New Haven: Yale Center for British Art, 1983)
    • White, Christopher: Rembrandt as an Etcher: A Study of the Artist at Work [2 vols.]. (London: A. Zwemmer, 1969; 2nd ed., New Haven, CT: Yale University Press, 1999)
  40. ^
    • Zell, Michael: Protestant Imagery and Jewish Apologetics: Rembrandt's Encounterwith Rabbi Menasseh ben Israel. (Ph.D. diss., Harvard University, 1994)
    • Zell, Michael: Reframing Rembrandt: Jews and the Christian Image in Seventeenth-Century Amsterdam. (Berkeley: University of California Press, 2002)
    • Zell, Michael; Chong, Alan (eds.): Rethinking Rembrandt. (Zwolle: Waanders Publishers, 2002)
    • Zell, Michael (2000), 'Encountering Difference: Rembrandt's Presentation in the Dark Manner,'. Art History 23(4): 496–521
    • Zell, Michael (2003), 'A Leisurely and Virtuous Pursuit: Amateur Artists, Rembrandt, and Landscape Representationin Seventeenth-Century Holland,'. Nederlands Kunsthistorisch Jaarboek 54: 337–373
    • Zell, Michael (2008), 'Eduard Kolloff and the Historiographic Romance of Rembrandt and the Jews,'. Simiolus: Netherlands Quarterly for the History of Art 28: 181–97
    • Zell, Michael (2011), 'Rembrandt's Gifts: A Case Study of Actor-Network-Theory,'. JHNA: Journal of Historians of Netherlandish Art 3(2). doi:10.5092/jhna.2011.3.2.2
[edit]
Retrieved from "https://en.wikipedia.org/w/index.php?title=List_of_Rembrandt_connoisseurs_and_scholars&oldid=1177264036"