This is an excellent summary of the latest research into Rembrandt's methods and materials, carried out at the National Gallery over the last thirty years. It dispels many long held myths about Rembrandt's materials. Too many connoisseurs and curators still think that Rembrandt intended all his pictures to be dark and brown, and far too many painters who have tried to imitate Rembrandt's effects think he added resins, waxes and other substances to his paint to get his results. All this has been disproved. This book is indispensable for the painter who is seriously interested in understanding 17th century techniques.
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