The Authentication Of Rembrandt S Titus F 1655

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

The romantic and enigmatic character of this picture has inspired many theories about its subject, meaning, history, and even its attribution to Rembrandt. Several portrait identifications have been proposed, including an ancestor of the Polish Oginski family, which owned the painting in the eighteenth century, and the Polish Socinian theologian Jonasz Szlichtyng. The rider's costume, his weapons, and the breed of his horse have also been claimed as Polish. But if The Polish Rider is a portrait, it certainly breaks with tradition. Equestrian portraits are not common in seventeenth-century Dutch art, and furthermore, in the traditional equestrian portrait the rider is fashionably dressed and his mount is spirited and well-bred. The painting may instead portray a character from history or literature, and many possibilities have been proposed. Candidates range from the Prodigal Son to Gysbrech van Amstel, a hero of Dutch medieval history, and from the Old Testament David to the Mongolian warrior Tamerlane. It is possible that Rembrandt intended simply to represent a foreign soldier, a theme popular in his time in European art, especially in prints. Nevertheless, Rembrandt's intentions in The Polish Rider seem clearly to transcend a simple expression of delight in the exotic. The painting has also been described as a latter-day Miles Christianus (Soldier of Christ), an apotheosis of the mounted soldiers who were still defending Eastern Europe against the Turks in the seventeenth century. Many have felt that the youthful rider faces unknown dangers in the strange and somber landscape, with its mountainous rocks crowned by a mysterious building, its dark water, and the distant flare of a fire.

Catalogus bij een tentoonstelling van 143 Nederlandse 17e eeuwse schilderijen uit Engels openbaar bezit.

Rembrandt’s extraordinary paintings of female nudes—Andromeda, Susanna, Diana and her Nymphs, Danaë, Bathsheba—as well as his etchings of nude women, have fascinated many generations of art lovers and art historians. But they also elicited vehement criticism when first shown, described as against-the-grain, anticlassical—even ugly and unpleasant. However, Rembrandt chose conventional subjects, kept close to time-honored pictorial schemes, and was well aware of the high prestige accorded to the depiction of the naked female body. Why, then, do these works deviate so radically from the depictions of nude women by other artists? To answer this question Eric Jan Sluijter, in Rembrandt and the Female Nude, examines Rembrandt’s paintings and etchings against the background of established pictorial traditions in the Netherlands and Italy. Exploring Rembrandt’s intense dialogue with the works of predecessors and peers, Sluijter demonstrates that, more than any other artist, Rembrandt set out to incite the greatest possible empathy in the viewer, an approach that had far-reaching consequences for the moral and erotic implications of the subjects Rembrandt chose to depict. In this richly illustrated study, Sluijter presents an innovative approach to Rembrandt’s views on the art of painting, his attitude towards antiquity and Italian art of the Renaissance, his sustained rivalry with the works of other artists, his handling of the moral and erotic issues inherent in subjects with female nudes, and the nature of his artistic choices.

Essay on the development of his art of drawing, from his youth to his last years. 115 illustrations, four in color.

"Rembrandt, With a Complete List of His Etchings" by Arthur Mayger Hind. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

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