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DICKEY","","A scholarly exhibition book centers on the Indianapolis Museum of Art’s Clowes Rembrandt and its contested identification as a Rembrandt self-portrait. The foreword contrasts familiar imagery of Rembrandt’s self-portraits with the Clowes version, then explains how Rembrandt Research Project scholarship and scientific study led to a renewed attribution to about 1629. 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does the foreword distinguish the Clowes Rembrandt from typical Rembrandt self-portrait imagery?","Question",{"text":112,"@type":113},"It contrasts the familiar depiction of a world-weary, ruddy-cheeked man with a floppy hat against the Clowes Rembrandt’s soft-whiskered youth, surprised expression, open mouth, and military dress.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"What changed the Clowes Rembrandt’s attribution according to the text?",{"text":117,"@type":113},"The foreword credits the Rembrandt Research Project’s connoisseurship and scientific examination with a renewed re-attribution to a youthful work by Rembrandt from about 1629.",{"name":119,"@type":110,"acceptedAnswer":120},"Why is provenance history presented as important in the discussion?",{"text":121,"@type":113},"The foreword highlights the painting’s ownership by noble Polish families through generations and discusses how clarification of its ownership history helps address concerns tied to the Second 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and the exhibition Rembrandt Face to Face(Indianapolis Museum of Art,August 6-November 26,2006)were made possible by support from the David  \nL.Chambers,Jr.Fundfor Dutch and Flemish Art.  \nSTEPHANIE S.DICKEY is Bader Chair in NorthernBaroque Art at Queen's University in Kingston,Ontario.From 1995 to 2006,she taught art history at HerronSchool of Art and Design,Indiana University-PurdueUniversity Indianapolis.A graduate of the Instituteof Fine Arts,New York University,Dickey is the authorof Rembrandt:Portraits in Print(2004)and numerousessays on the art of Rembrandt and his circle.  \nRonda Kasl,General EditorJane Graham,Editor  \nDesigned by Studio Blue,www.studioblue.usPrinted by Friesens Corporation,Canada  \nPublished by the Indianapolis Museum of Art4000 Michigan Road  \nIndianapolis,Indiana 46208-3326www.ima-art.org  \n⑥2006 Indianapolis Museum of ArtAll rights reserved.  \nLIBRARY OF CONGRESS  \nCATALOGING-IN-PUBLICATION DATADickey,Stephanie.  \nRembrandtface to face|Stephanie S.Dickey.p.cm.  \nIncludes bibliographical references.ISBN O-936260-83-1(pbk.)  \n1.Rembrandt Harmenszoon van Rijn,1606-1669.  \nSelf-portrait(Indianapolis Museum of Art)2.Painting—Indiana—Indianapolis.3.Indianapolis Museum of Art.  \n# I.Title.\n\nND653.R4A782006  \n759.9492—dc22  \n2006017414  \nDistributed by the University of Washington PressP.O.Box50096  \nSeattle,Washington 98145-5096www.washington.edu/uwpress  \n二  \nContents  \nForeword /MAXWELL L.ANDERSON|7  \nRembrandt Face to Face |STEPHANIE S.DICKEY11  \nHistorical Record/67  \nWorks Cited |71  \n# Foreword\n\nThe phrase \"Rembrandt self-portrait\"instantly conjures up an image known from doz-ens of examples—that of a world-weary,ruddy-cheeked man,donning a floppy hat andgazing at us benignly while alert to the source of his next guilder.By stark contrast,theClowes Rembrandt portrays a soft-whiskered youth with a surprised expression,openmouth,and dashing military garb.The spontaneity of this image sets it apart from muchelse in Rembrandt's oeuvre—and helps explain why it became the subject of contentionnearly twenty years ago,when stripped of its identity as an original by the master.  \nIts newfound re-attribution as a youthful work by Rembrandt from about 1629 is theend of one story and the beginning of another.The painstaking connoisseurship of theRembrandt Research Project(RRP)over the last generation has led to myriad changes inthe presumed authorship of paintings in museums around the world.The Clowes por-trait's return to favor by the RRP is,to be sure,a function of meticulous scholarship andscientific examination.But it is,no less importantly,a welcome(if belated)affrmation ofthe perspicacity ofits former owners Dr.George H.A.Clowes and Edith W.Clowes,and ofthose to whom they turned for collecting advice.  \nNot only is this picture now freshly acknowledged to be by the hand of Rembrandt,but itis also believed to be the artist's first effort to capture the features of the human facein a life-sized work.Furthermore,scholars now recognize that the Clowes Rembrandt wasthe subject of at least five known copies by pupils of the master,which led to some of thehealthy debate about whose hand gave rise to it.It is further suggested by the RRP thatthe extreme naturalism of the depiction—blemishes and all—argues for its having been  \ncaptured through the artist's close observation of his face as if caught in mid-stride beforea mirror.  \nThe Indianapolis Museum of Art is privileged to have the Clowes Rembrandt in itscare,and for that we are deeply grateful to the Clowes Fund for its continuing generosity.The long tradition of patronage from which the IMA has so often benefited is nowherebetter manifested than by the heirs of Dr.and Mrs.Clowes,who to this day provide sup-port and encouragement to the Museum in nurturing the inspiring vision of the Clowes","cbCaigTf7YNPxmS0","https://ap.wps.com/l/cbCaigTf7YNPxmS0","pdf",4226695,"English","# Foreword\n## Rembrandt Face to Face\n## Historical Record\n## Works Cited","[{\"question\":\"How does the foreword distinguish the Clowes Rembrandt from typical Rembrandt self-portrait imagery?\",\"answer\":\"It contrasts the familiar depiction of a world-weary, ruddy-cheeked man with a floppy hat against the Clowes Rembrandt’s soft-whiskered youth, surprised expression, open mouth, and military dress.\"},{\"question\":\"What changed the Clowes Rembrandt’s attribution according to the text?\",\"answer\":\"The foreword credits the Rembrandt Research Project’s connoisseurship and scientific examination with a renewed re-attribution to a youthful work by Rembrandt from about 1629.\"},{\"question\":\"Why is provenance history presented as important in the discussion?\",\"answer\":\"The foreword highlights the painting’s ownership by noble Polish families through generations and discusses how clarification of its ownership history helps address concerns tied to the Second World War.\"}]","Rembrandt Face to Face - STEPHANIE S. DICKEY | PDF",1791883880,123]