Catalogue Raisonné de Toutes les Estampes Qui Forment l'OEuvre de Rembrandt, Et des Principales Pièces de Ses Élèves, Composé par les Sieurs Gersaint, Helle, Glomy Et P. Yver (Classic Reprint)


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Excerpt from Catalogue Raisonne de Toutes les Estampes Qui Forment l'OEuvre de Rembrandt, Et des Principales Pieces de Ses Eleves, Compose par les Sieurs Gersaint, Helle, Glomy Et P. Yver Cet oeuvre, qui dans son origine avait ete en partie for 0 me de p1eces provenant du Cabinet du Bourgmestre six. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
















Catalogue Raisonné De Toutes Les Estampes Qui Forment L'oeuvre De Rembrandt


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Rembrandt and His Critics 1630–1730


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My greatest debt in the writing of this book is to my teacher Dr. Ulrich Middeldorf, who taught me the methodology of research in art history, and who guided my studies of art theory and criticism. This study, which in an earlier form was accepted as a doctoral dissertation by the University of Chicago, was begun under Dr. Middeldorf's guidance, and during all stages of its preparation I benefited from his invaluable suggestions and criticism. A United States Government Grant enabled me to complete my researches on Rembrandt in the Netherlands, where I studied at the Rijksuniversiteit te Utrecht with Dr. J.G. van Gelder, who was particularly generous with his knowledge and time. He read the manuscript and proofs, and offered numerous suggestions and additions which have been of great benefit to me. Special acknowledgement is made to the Kunsthistorisch lnstituut der Rijksuniversiteit te Utrecht for generously finding a place for this study in the Utrechtse Bij dragen tot de Kunstgeschiedenis. I am also much indebted to Dr. H. Schulte Nordholt of the Kunsthistorisch lnstituut for his valuable advice and his help inseeing the book through the press.