| 8 | | , Introduction
|
|
| 8 | | Thijs Weststeijn, The Learned Eye
|
|
| 13 | | , Biography of Ernst van de Wetering
|
|
| 17 | | , Part I. The work of art
|
|
| 18 | | Karin Groen, In the Beginning There Was Red
|
|
| 28 | | Peter Klein, The Use of Wood in Rembrandt's Workshop. Wood Identification and Dendrochronological Analyses
|
|
| 38 | | Egbert Haverkamp Begemann, Rembrandt's Drawing The Raising of the Cross in the Museum of Fine Arts, Boston
|
|
| 47 | | Martin Bijl, The Portrait of Theodorus Schrevelius
|
|
| 57 | | , Part II. The rules of art
|
|
| 58 | | Margriet van Eikema Hommes, The Contours in the Paintings of the Oranjezaal, Huis ten Bosch
|
|
| 86 | | Anna Tummers, Aelbert Cuyp's Innovative Use of Spatial Devices
|
|
| 99 | | Arthur Wheelock, Colour Symbolism in Seventeenth-Century Dutch Painting
|
|
| 111 | | Thijs Weststeijn, Rembrandt and Rhetoric, The Concepts of affectus, enargeia and ornatus in Samuel van Hoogstraten's Judgement of His Master
|
|
| 131 | | , Part III. The artist's reputation
|
|
| 132 | | Christopher Brown, 'A Record and memorial of his Talents for Posterity': Anthony van Dyck's Sketch of the Garter Procession
|
|
| 140 | | Madelon Simons, 'Das Werk erdacht und cirkulirt', The Position of Architects at the Court of King Ferdinand I of Bohemia and His Son, Archduke Ferdinand II of Austria
|
|
| 150 | | Mariette Haveman, Crossing the Wall of History, Etienne Delécluze on the Art and Morality of Jacques-Louis David
|
|
| 158 | | Eric Jan Sluijter, Goltzius, painting and Flesh: or, Why Goltzius Began to Paint in 1600
|
|
| 179 | | , Part IV. Painters, Patrons and Art-lovers
|
|
| 180 | | Michiel Franken, 'Pour mon honneur et pour vostre contentement': Nicolas Poussin, Paul Fréart de Chantelou and the Making and Collecting of Copies
|
|
| 190 | | Walter Liedtke, Gerard de Lairesse and Jacob de Wit in situ
|
|
| 206 | | Henk van Os, 'The Painter he findes at his Easill at worke'
|
|
| 214 | | , Bibliography of Ernst van de Wetering
|
|