Artemisia - Madrid

Vecchio addormentato - Torino

Autoritratto con cane - Parigi

Testa di vecchio orientale - Amsterdam

Autoritratto con corgiera - Firenze

Riposo durante la fuga in Egitto - Dublino

Ritratto di Catarina Hoogsaet -  Galles

Giuseppe racconta i suoi sogni - Amsterdam

Roma, Scuderie del Quirinale
From 5 October 2002 to 6 January 2003
 

5 saturdays October will open to the public to the Scuderie of the Quirinale the extension Rembrandt. Paintings, recordings and glares on the 600 and 700 Italian, realized in collaboration with the Rijksmuseum Amsterdam: irripetibile un.occasione in order to admire, in un.unica center, dell.artista l.opera, is like painter who like incisore. The extension is cured from Ger Luijten, Director of the Cabinet of the Press and the Recordings of the Rijksmuseum and from Bo.ena Anna Kowalczyk, historical dell.arte, expert of the 700 veneziano, that it has coordinated the Italian section.
They will be exposed more than two hundred works: beyond 150 recordings drawn from the album it originates them of property of the Dutch museum and of the accurately chosen British Museum and some paintings dell.artista in logon with the most precious press it originates them: Artemisia. from the National museum of the Prado, Autoritratto. from the National Gallery of Art di Washington., Mater Painful from the Musèe Dèpartemental d.Art Ancien ET Contemporain di Epinal, Autoritratto in custom oriental from the Petit Palais of Paris, Riposo during the escape in Egypt. from the National Gallery of Ireland di Dublino, Autoritratto with gorgiera. from the Gallery of the Uffizi, Vecchio Addormentato. from the Sabauda Gallery of Turin, Giuseppe tells its dreams. Ephraim Bueno., Ritratto d.uomo in custom oriental, from the Rijksmuseum Amsterdam and, from the private collection of the Penrhyn Castle, Ritratto di the Catrina Hooghsaet., never exposed in Italy.
The extension becomes rich also of designs, sketches coaches and of a conclusive section that will deepen the reply and the glare that the recordings of Rembrandt have had in Italy on great works of Italian artists who give the Dutch genius have drawn clearly identifiable ways, attitudes and suggestions.
Between the works exposed in this section there will be the Guerriero in garment orients them. of Pierfrancesco Mola, from the Museum of the Louvre, Il dream of Giuseppe. of Giovanni Benedict Castiglione, from the Museum of Fine Arts di Boston, La crocifissione. of Giandomenico Tiepolo, from City Museum of Art di Saint Louis, the Giovane with turban. of Giandomenico Tiepolo, from the Gemäldegalerie of Berlin, the Ritratto of a old man with black cap. of Bartolomeo Nazzari and L.avaro. of Giuseppe Nogari from the Gemäldegalerie High Meister di Dresda - that it has lend in spite of the terrible created situation last dall.alluvione dell.estate - Ritratto di Antonio Riccobono. of Giambattista Tiepolo, dall.Accademia of Concordi of Rovigo, Il patriarcale Biblical travel. of Giovanbattista Castiglione, from the Bourgeois Gallery, and many others.
The constituent elements of the extension are just these Rembrandt. Paintings, recordings and glares on the 600 and 700 Italian: the original nucleus of the extraordinary belonged recordings all.artista, the pictures that document to the uninterrupted dialogue between its work of incisore and that one of painter, its reputation in Italy like incisore painter and the glare, finally, than its recordings they have had on great artists like Giandomenico Tiepolo, Gian Piazzetta Batiste, Giovanni B. Castiglione, Pierfrancesco Mola and many others.

The EXTENSION And ITS DISTANCE

For before the time in Italy a deepened speech is opened and structured on the great painter of Leida with an extension that is born from the collaboration between the Scuderie of the Quirinale of Rome and the Rijksmuseum di Amsterdam and thanks all.apporto of lend to you from museums like the Louvre, the Prado, the National Gallery di Dublino, the British Museum, the National Gallery of Art di Washington, the Gemaldegalerie of Berlin, the Uffizi and many others, in Italy and Europe (cfr. detailed list to part).
... I have seen its Works $R-in.stampa appeared in these various ours I leave, which have succeeded much beautiful, carved of good taste and made of good way, where it can be argued that of he to colour it is equally of all esquisitezza and perfetione, ET I ingenuously I estimate it for large a vituous one. Therefore the Guercino of Rembrandt in a rarest letter, exposed in extension for before the time wrote on purpose, to Don Antonio Ruffo of Messina, than Dutch present in its collection had asked to it to paint a picture to approach to one dell.artista burlap. From the text it clearly turns out that the from Bologna painter did not know the paintings of the Dutch master but, in the light of its press, that it appreciated a lot, it was reached the conclusion that had to be be a matter of an optimal painter and accepted with l.incarico enthusiasm.
This brano is a meaningful example of the esteem of which Rembrandt enjoyed universal in the XVII and XVIII century and like, from Venice to Messina, he was famous above all for its press, constant wonder object, disclosed as most precious treasures between connoisseurs, to which its reputation of painter had in wide measure.
D.altra leaves l.interesse of the cited letter over is, not single in the testimony of esteem for Rembrandt, but, more in a generalized manner, also in the testimony of the cognitive value that the press had all.epoca like indispensable instrument of the artistic communication.
In extension, the visitor of the Scuderie will be able to follow risen of iniziatico distance through all a production of recordings of Rembrandt, in the same atmosphere and with the same gestualità with which it gets passionate you to it of art from centuries they watch the recordings: the arms supported on the edge of a table, a light aimed in the just way, hand a disc of a valve from connoisseur in order to make compares between the various pullings, in order to characterize of the filigree, to confront of the states, to observe of the details. To the wall eleven tables of indiscussa attribution and extraordinary chosen intensity for their grip thematic and temporal logon with incisoria l.opera.
Exceptional L.interesse of the distance is given from the coming from pictures from the greatest museums of the world, from the oneness of this collection: draft for more of the press originates them, in often several states of pulling, with the ritocchi that gradually its estro advised to it, and that a lot probably the same Rembrandt collected and recovered in order to conserve them in an only album of its property, today conserved from the Rijksmuseum di Amsterdam.
And the triumph of the particular one, the technique, its prodigiosa figurative culture that is confronted, to the walls, with l.irruenza of the pittorico feature, the intensity moves them and revolutionary of its famous ones ritratti and selfs-portrait, the mysterious and struggente magic, of its Biblical scenes.
It will be then, to according to plan of the Scuderie, just the detailed one covered of the recordings dell.ultimo dell.artista period with to the pittoriche works introducing to the immense and innovative cured final section from Bo.ena Kowalczyk. In this section the visitor will be able to follow the reply and the glare that the recordings of Rembrandt have had in Italy on great works of Italian artists who give the Dutch genius have drawn clearly dimostrabile inspiration (cfr. catalogue of the works in extension).

GENERAL INFORMATIONS