To coincide with the exhibition Rembrandt: The Late Works (15 October 2014–18 January 2015) at the National Gallery in London (and co-organised with the Rijksmuseum, Amsterdam), a three-day scholarly conference was held entitled Rembrandt Now: Technical Practice,Conservation and Research (13–15 November 2014). The focus was on Rembrandt’s technical practice for painting. Many of the papers presented at the conference are included in this free-to-view online publication produced by Archetype Publications Ltd for the National Gallery. It is only produced as an online publication. No hard copies will be published.
Details of the context of this publication are on the National Gallery website at
https://www.nationalgallery.org.uk/research/research-resources/research-papers/rembrandt-now
The pdf can be viewed directly at
https://www.nationalgallery.org.uk/media/5t0bre5n/rembrandt-now-online-pdf-170322.pdf
Preface
Four paintings by Rembrandt in the National Gallery, London, examined using infrared reflectography
Rachel Billinge
Rembrandt’s Supper at Emmaus of 1648: technical observations made after restoration
Bruno Mottin
In search of Rembrandt’s underdrawing
Jørgen Wadum
Rembrandt and Bol in the Royal Collection: a close examination of Rembrandt’s Portrait of Agatha Bas and Ferdinand Bol’s Rembrandt and his Wife Saskia
Rosanna de Sancha
Rembrandt’s Frederik Rihel on Horseback: a restoration in context
Larry Keith
Rembrandt’s Aristotle with a Bust of Homer revisited: technical examination and new insights
Dorothy Mahon, Silvia A. Centeno, Mark T. Wypyski, Geert van der Snickt, Joris Dik and Koen Janssens
Karin Groen, Rembrandt scholar: a tribute
Ian McClure
The use and identification of red lake pigments in paintings by Rembrandt
David A. Peggie and Jo Kirby
Rembrandt and the Rembrandtesque: the experience of artistic process and its imitation
Melanie Gifford
A note on Samuel van Hoogstraten’s Christ and the Women of Jerusalem: apprenticeship, practice, influence
Peter Black and Erma Hermens
Should prints be redated because of watermark evidence? Some examples and considerations
Erik Hinterding
‘The highest degree of excellence’: how Reynolds improved Rembrandt
Claudia Laurenze-Landsberg and Katja Kleinert
Using macro-XRF to examine Rembrandt’s Portrait of Frederik Rihel on Horseback: new insights on pigment distribution and a hidden portrait
Nelly von Aderkas, Nathan Daly, Rachel Billinge, Annelies van Loon and Joris Dik
