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Rembrandt's Nose ISBN 1-933045-44-2 / 978-1-933045-44-3 Hardcover, / pgs / / U.S. CDN To be set / Nonfiction and Criticism If the sitter is the lead actor of a performance, for in essence that is what a portrait is, then the nose is his understudy on the stage of the face. The nose stands in the center, the focal point of our gaze if not the exact center, and demands that we notice it. It's a peacockish actor: too obvious, too egotistical, too histrionic. It upstages the rest of the face and would make us forget that its posturing is mere vanity and vacuity compared to the eloquence of the eyes and lips.
For Rembrandt, as for Shakespeare, all the world was indeed a stage, and he knew in exhaustive detail the tactics of its performance: the strutting and mincing, the wardrobe and face-paint, the full repertoire and gesture and gimace, the flutter of hands and the roll of the eyes, the belly-laugh and the half-stifled sob. He knew what it looked like to seduce, to intimidate, to wheedle and to console; to strike a pose or preach a sermon, to shake a fist or uncover a breast; and how to sin and how to atone. No artist had ever been so fascinated by the fashioning of personae, beginning with his own. No painter ever looked with such unsparing intelligence or such bottomless compassion at our entrances and our exits and the whole rowdy show in between.
James R. Garcia was born and raised in Rocky Ford, Colorado. Went to High School and then went into the Marine Corps, for four (4) years. I spent a large portion of my life working as a Manager of Purchasing and Subcontracts for a number of Major Subcontractors in the United States. Such as Bechtel Corporation, Fluor Corporation, Rockwell International Corporation, The Boeing Company, and Ball Aerospace Corporation. I retired in 1999. Upon retiring and during my working career I was always buying selling and studying art and started and owned an Art Gallery in Kennewick, Washington, known as Garcia's Americana Art Gallery. I sold and studied the art of Edward S. Curtis, Carl Moon and Western Art in General. I showed and attended the Major Art Shows all over the Southwest. I have lectured at Galleries and Museums, in Colorado mostly on Edward S. Curtis and Carl Moon Photographs. I have also testified in Court on the collections of Curtis and Carl Moon on the authentication of many of their works of photography. The work and study of authenticating a piece of art is a most satisfying effort and hopefully there will be people in the study of art and becoming an artist, that will be able to put their efforts and study in the direction of authenticating art. I hope that my story, "The Authentication of Rembrandt's Titus F 1655", will help students to look into other avenues to follow in the field of art. James R. Garcia Collector, Connoisseur and Researcher of Fine Art
Rembrandt: Studies in his Varied Approaches to Italian Art explores his engagement with imagery by Italian masters. His references fall into three categories: pragmatic adaptations, critical commentary, and conceptual rivalry. These are not mutually exclusive but provide a strategy for discussion. This study also discusses Dutch artists’ attitudes toward traveling south, surveys contemporary literature praising and/or criticizing Rembrandt, and examines his art collection and how he used it. It includes an examination of the vocabulary used by Italians to describe Rembrandt’s art, with a focus on the patron Don Antonio Ruffo, and closes by considering the reception of his works by Italian artists.
Most amateurs dream of taking professional-quality portraits; Steve Sint can show them how. After shooting over a million portraits, he has a wealth of knowledge to share, on everything from the basics of good composition to the fine details of advanced lighting techniques. Sint simply delivers a complete course in digital portrait photography: he discusses set-ups and backdrops; the most flattering ways to pose both individuals and groups; tips on making the sessions fun and comfortable for everyone; and insider info on using electronic flash, both indoors and out. For those hoping to go pro, an entire chapter offers all the nuts and bolts information needed to turn your passion into a career!
Arthur Mayger Hind's book 'Rembrandt, With a Complete List of His Etchings' is a comprehensive study of the renowned Dutch artist's etchings. The book provides detailed analysis of Rembrandt's iconic etchings, exploring the themes, techniques, and impact of his work. Hind's scholarly approach offers readers a deep insight into Rembrandt's artistic process, making this book a valuable resource for art historians and enthusiasts alike. The writing style is concise and informative, with Hind's expertise shining through in the meticulous research and attention to detail. The book is a must-read for anyone interested in the life and work of one of the greatest artists of all time. Arthur Mayger Hind's passion for Rembrandt's etchings is evident in every page, making 'Rembrandt, With a Complete List of His Etchings' a definitive guide to the artist's masterpieces.
Author : Hubertus von Sonnenburg Publisher : Metropolitan Museum of Art Page : 435 pages File Size : 27,23 MB Release : 1995 Category : Art ISBN : 0870997548
Sylvie Rosenberg escaped the Holocaust-- but can she escape the past? October 20, 1942. Benjamin Katz and his six-year-old daughter Sylvie stand with their frightened family at a train station in occupied Holland, unsure if the train would take them to their freedom-- or to a death camp. Hitler and his henchmen have long had their eye on the art collection of Benjamin and his brother, which includes Rembrandt's "Portrait of Raman." Now the brothers are faced with the ultimate choice --part with the art, or suffer the consequences. Based on a true story, Rembrandt's Shadow is the tale of two women from different generations who find themselves forced to confront each other years later-- while still haunted by the past.
Since the second half of the last century art historians, realizing that the image of Rembrandt’s work had become blurred with time, have attempted to redefine the artist’s significance both as a source of inspiration to other artists and as a great artist in his own right. In order to carry on the work started by previous generations, a group of leading Dutch art historians from the university and museum world joined forces in the late 1960s in order to study afresh the paintings usually ascribed to the artist. The researchers came together in the Rembrandt Research Project which was established to provide the art world with a new standard reference work which would serve the community of art historians for the nearby and long future. They examined the originals of all works attributed to Rembrandt taking full advantage of today’s sophisticated techniques including radiography, neutron activation autoradiography, dendrochronology and paint sample analysis — thereby gaining valuable insight into the genesis and condition of the paintings. The result of this meticulous research is laid down chronologically in the following Volumes: A Corpus of Rembrandt Paintings, Volume I, which deals with works from Rembrandt’s early years in Leiden(1629-1631), published in 1982. THIS VOLUME: A Corpus of Rembrandt Paintings, Volume II, covering his first years in Amsterdam (1631-1634), published in 1986. A Corpus of Rembrandt Paintings, Volume III, goes into his later years of reputation (1635-1642), published in 1990. Each Volume consists of a number of Introductory Chapters as well as the full Catalogue of all paintings from the given time period attributed to Rembrandt. In this catalogue each painting is discussed and examined in a detailed way, comprising a descriptive, an interpretative and a documentary section. For the authenticity evaluation of the paintings three different categories are used to divide the works in: A. Paintings by Rembrandt, B. Paintings of which Rembrandt’s authorship cannot be positively either accepted or rejected, and C. Paintings of which Rembrandt’s authorship cannot be accepted. This volume (Volume II) contains 900 pages, starting of with five introductory chapters and discussing 101 paintings. In clear and accessible explanatory text all different paintings are discussed, larded with immaculate images of each painting. Details are shown where possible, as well as the results of modern day technical imaging.