Drawing on and furthering the enterprise of Rembrandt scholars, who have been reinterpreting the artist and his work over the past 25 years, Alpers presents new considerations about Rembrandt's handling of paint, his theatrical approach to his models, his use of his studio as an environment under his control, and his relationship to those who bought his work. Her study is timely in light of recent research showing that well-known works attributed to Rembrandt are by followers instead. Alpers developed her text from a lecture series, and the prose gains readability by retaining some of the flavor of a talk. Still, this will find its audience chiefly among scholars and specialists in the field. Kathryn W. Finkelstein, M.Ln., Cincinnati
Copyright 1988 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
Owner Reviews, Ratings, Comments and Criticism
This book is at the same time erudite and easy to read. It studies Rembrandt's relationship to his art (his peculiar touch, his brushstrokes), to the theater (its influence on the scenes depicted in his paintings), to his studio (the part of his assistants, his attitude towards them) and to the art market (he was famously said to love only three things, "freedom, art and money"). Well served by twelve coloured close-ups presented at the beginning of the book as well as by numerous black and white illustrations, the text is riveting, full of insightful information and analyses. I own many books on the Dutch master and this one is undoubtedly a favourite.
