By Anna Tummers, Koenraad Jonckheere
The query even if seventeenthcentury painters equivalent to Rembrandt and Rubens created the work that have been later bought lower than their names, has brought on many a heated debate. a lot continues to be unknown in regards to the ways that work have been produced, assessed, priced, and advertised. for instance, did modern connoisseurs anticipate masters akin to Rembrandt to color their works solely via their very own hand? Who was once credited having the ability to verify work? How did a painting’s fee relate to its caliber? and the way did connoisseurship switch because the artwork industry grew to become more and more advanced? The individuals to this crucial quantity hint the evolution of connoisseurship within the booming artwork marketplace 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 neglected through someone with an curiosity within the previous Masters and the early sleek paintings industry.
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Additional resources for Art market and connoisseurship : a closer look at paintings by Rembrandt, Rubens and their contemporaries
Because we can only identify the last work, it is hard to say what could explain this remarkable price difference; perhaps the picture of the hunt contained more ﬁgures (on the pricing of Rubens’ pictures, see also essay Natasja Peeters below, esp. p. 107 ff). 76 However, it seems more accurate to state that among the works that could count as by Rubens’ hand, Carleton picked the works of the highest quality whether these were technically entirely by Rubens’ hand or not. For Carleton did not seem to mind the hand of another master or a specialist assistant; he picked a painting of Prometheus with an eagle by the animal specialist Snyders, as well as a painting of leopards with a landscape by an unnamed specialist.
1 Yet, among scholars there is no consensus as to whether such a distinction agrees with seventeenth-century categories of thought. Seventeenth-century connoisseurs were certainly interested in attaching names to paintings. In fact, attributing pictures seems to have been an entertaining pastime among the upper echelons of society in Europe. 2 A letter sent from Paris by the Dutch scientist and art lover Christiaan Huygens to his brother Constantijn in The Hague shows that these rather playful attribution debates were not an exclusively British phenomenon.
Indd 48 12. Meindert Hobbema, see colorplate p. 183 (entire painting) Farm in the Sunlight [detail of the foliage], c. C. ’90 As noted above, the insights as to exactly which elements were ‘telling’ varied somewhat from one author to the next. 91 However, all these characteristics seem to have one common denominator: an inventive and resolute execution. The paradox of seventeenth-century connoisseurship So far, the elements discussed as important are those which show distinctly individual brush marks.