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REMBRANDT THE “MASTER” PRINTMAKER: Choosing an Ancestral Figure for French Painter-Printmakers

ALISON McQUEEN

The Rise of the Cult of Rembrandt, 2003, p.157

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Título:
REMBRANDT THE “MASTER” PRINTMAKER: Choosing an Ancestral Figure for French Painter-Printmakers
Autor: ALISON McQUEEN
Assuntos: Aesthetic objects ; Aesthetics ; Applied arts ; Applied sciences ; Architecture ; Art dealing ; Art exhibitions ; Art objects ; Art photography ; Artists ; Arts ; Arts participation ; Axiology ; Buildings ; Cottages ; Curators ; Dwellings ; Economic disciplines ; Economics ; Employment ; Engraving ; Etching ; Imaging ; Information professionals ; Labor economics ; Occupations ; Philosophy ; Photography ; Printmaking ; Residential buildings ; Visual arts
É parte de: The Rise of the Cult of Rembrandt, 2003, p.157
Descrição: Scholars usually refer to rembrandt’s “influence” on French printmakers as if it were a natural phenomenon. Because of the perception of Rembrandt’s stature today, many assume he was always regarded asthemaster printmaker. Rembrandt’s prints have certainly been popular since his lifetime. But the position he was assigned in nineteenth-century France astheleading past master of etching was more a constructed phenomenon than one that evolved naturally. Rembrandt’s status as the emblem of the etching revival in France was carefully negotiated for him through the self-conscious efforts of French critics and artists through their print treatises, publications, associations,
Editor: Amsterdam University Press
Idioma: Inglês

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