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Ackley, Clifford S.

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Use of the Catalogue

Clifford S. Ackley

Rembrandt’s Journey: Painter · Draftsman · Etcher

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Author

Clifford S. Ackley

PublisherMuseum of Fine Arts, Boston

Stable URL: https://aaeportal.com/?id=-21111

Use of the Catalogue

The prints, drawings, and paintings are discussed in sixty-five thematic clusters. These clusters are arranged in an approximate chronological order. Works from different periods are, however, often grouped together in order to illuminate Rembrandt’s changing conceptions of subject, style, and technique. With the exception of Tobias and the Angel (no. 114) by Hercules Segers, all works in the exhibition are by Rembrandt.

Titles are based on those of standard catalogues. The authors have sometimes revised the titles on the basis of subject matter.

Measurements are given in centimeters and inches, height before width. For prints, the measurements are those of the platemark (or the sheet if trimmed); for drawings, the size of the sheet; and for paintings the surface of the panel or canvas. Where precise measurements were unavailable, we have relied on published information.

Unless otherwise described, paper is European laid paper. Watermark information is based on Ash and Fletcher 1998 and Hinterding diss. 2001.

Both yellowish and white Asian papers are described here as Japanese (instead of “Chinese” to denote white Asian paper).

All Bible references come from The Holy Bible Containing the Old and New Testaments: King James Version with Apoaypha, ed. Robert Carroll and Stephen Prickett (Oxford: Oxford University Press, 1997), unless otherwise stated.

For all other bibliographic references, see References.

See Materials and Techniques for fuller information on technical terms relating to printmaking, drawing, and painting.

The authors are indicated by their initials following each entry:

CSA Clifford S. Ackley

TER Thomas E. Rassieur

SWR Sue Welsh Reed

WWR William W. Robinson

The identifying numbers for works in standard catalogues are abbreviated as listed below. Bartsch numbers are provided for prints, with an asterisk (*) to denote unpublished state changes (see Exhibition List). The drawings are referred to by Benesch numbers. Paintings are identified by Bredius numbers and, when available, Corpus numbers as well.

B. In reference to Rembrandt’s prints: Adam Bartsch, Catalogue raisonné de toutes les estampes qui forment l’oeuvre de Rembrandt et ceux de ses principaux imitateurs, 2 vols. (Vienna: Blumauer, 1797). In reference to prints by other artists: Adam Bartsch, Le Peintre-graveur, 21 vols. (Vienna, 1803–21).

Ben. Otto Benesch, The Drawings of Rembrandt: Complete Edition in Six Volumes, enlarged and ed. Eva Benesch (London: Phaidon Press, 1973).

Br. Abraham Bredius, The Complete Edition of the Paintings of Rembrandt, 3rd ed., ed. Horst Gerson (London: Phaidon Press, 1969).

Corpus Josua Bruyn, Bob Haak, Simon Levie, P. J. J. van Thiel, and Ernst van de Wetering, A Corpus of Rembrandt Paintings, 3 vols. (The Hague: Nijhoff Press, 1982–89).

Docs. Walter L. Strauss, and Marjon van der Meulen, eds., The Rembrandt Documents (New York: Abaris Books, 1979).

Holl. Hollstein, F. W. H., Dutch and Flemish Etchings, Engravings, and Woodcuts, c. 1450–1700, 58 vols. (Amsterdam: M. Hertzberger, 1949–87; Roosendaal: Koninklijke van Poll, 1988–94; Rotterdam: Sound and Vision, 1995–2001).

Holl. (German) Hollstein, F. W. H., German Engravings, Etchings, and Woodcuts, c. 1450–1700, 62 vols. to date (Amsterdam: M. Hertzberger 1954–87; Roosendaal: Koninklijke van Poll, 1988–94; Rotterdam: Sound and Vision, 1995.).

New Holl. The New Hollstein Dutch and Flemish Etchings, Engravings, and Woodcuts, 1450–1700, 12 vols. to date (Roosendaal: Koninklijke van Poll in cooperation with the Rijksprentenkabinet, Rijksmuseum, Amsterdam, 1993–94; Rotterdam: Sound and Vision in cooperation with the Rijksprentenkabinet, Rijksmuseum, Amsterdam, 1996–).

New Holl. (German) The New Hollstein German Engravings, Etchings, and Woodcuts, 1400–1700, 4 vols. to date (Rotterdam: Sound and Vision, 1996–).

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