Abstract
As announced in the entry on Tobit and Anna with the kid (V 7), an attempt will be made in this entry to gain insight into a complex and as yet insufficiently understood aspect of Rembrandt’s studio practice by comparing and analysing these two paintings. See also Chapter V.
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Notes
J. Bauch and D. Eckstein, ‚Woodbiological investigations on panels of Rembrandt paintings‘, Wood Science and Technology 15 (1981), pp. 251–263, esp. 254.
W.R. Valentiner, Rembrandt. Des Meisters Gemälde, Zweiter Band, Stuttgart/ Leipzig n.d. [1908] (Kl.d.K.), p. 558 under S. 282.
Exhib. cat. Rembrandt. Genie auf der Suche, Berlin 2006, nos. 48 and 49.
E. van de Wetering in: exhib. cat. Rembrandt the printmaker, Amsterdam/ London 2000/2001, pp. 58–59.
C. Wolters, Die Bedeutung der Gemäldedurchleuchtung mit Röntgenstrahlen für die Kunstgeschichte, Frankfurt am Main 1938, pp. 60–61.
S. van Hoogstraeten, Inleyding tot de hooge schoole der schilderkonst, Rotterdam 1678, pp. 272–273.
F. Nicolai, Beschreibung der Königlichen Residenzstädte Berlin und Potsdam, Berlin 1769, p. 367.
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© 2011 Stichting Foundation Rembrandt Research Project
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Van De Wetering, E. (2011). Rembrandt and pupil — Joseph’s dream in the stable at Bethlehem. In: A Corpus of Rembrandt Paintings. Stichting Foundation Rembrandt Research Project, vol 5. Springer, Dordrecht. https://doi.org/10.1007/978-1-4020-5786-1_13
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