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The query even if seventeenth-century painters similar to Rembrandt and Rubens created the work which have been later offered below their names, has triggered 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 comparable to Rembrandt to color their works totally by way of their very own hand? Who was once credited being able to determine work? How did a painting’s rate relate to its caliber? and the way did connoisseurship switch because the artwork industry turned more and more advanced? The participants to this crucial quantity hint the evolution of connoisseurship within the booming paintings marketplace 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 it's not to be overlooked by way of somebody with an curiosity within the outdated Masters and the early smooth artwork marketplace.

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Additional info for Art Market and Connoisseurship: A Closer Look at Paintings by Rembrandt, Rubens and Their Contemporaries (Amsterdam Studies in the Dutch Golden Age)

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Indd 49 07-10-2008 16:33:59 50 ANNA TU M M E R S Contrary to Junius, however, Samuel van Hoogstraten had, as noted, first-hand experience as a painter. He had trained with Rembrandt and it is tempting to think that his treatise, which often seems to reflect Rembrandt’s thinking, also does when he is discussing parerga. His statement that all great masters used assistance in their work is, in any case, revealing. ’95 The distinction between masterly and subordinate passages is, in my opinion, very important.

These were pupils training with their first or second masters. 63 For example, an elaborate draft statute of the Haarlem painter’s guild dated 1631, uses the terms ‘leerling’ and ‘disciple’ interchangeably to refer to pupils in their first three years of training, and distinguishes them sharply from paid assistants or journeymen (in Dutch ‘werckgesel’ or ‘vrije gast’). 64 Interestingly, no seventeenth-century document lists a painting as by a ‘gesel’ or paid assistant of a certain master painter, which to me suggests that their share in the studio production must have commonly counted as ‘by the master’ if it was done in the master’s style.

As he explained in a letter to the British collector Dudley Carleton, ‘retouched copies … show more for their price’ (see also below, p. 43 and Natasja Peeters’ essay, p. 62 As to pupil work, the terms used in such descriptions seem telling: ‘leerling’ or ‘discipul’. These were pupils training with their first or second masters. 63 For example, an elaborate draft statute of the Haarlem painter’s guild dated 1631, uses the terms ‘leerling’ and ‘disciple’ interchangeably to refer to pupils in their first three years of training, and distinguishes them sharply from paid assistants or journeymen (in Dutch ‘werckgesel’ or ‘vrije gast’).

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