A detailed look at Amsterdam as Rembrandt would have known it also pointing bout the places that were familiar to him-lots of illustrations.
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A new show at the National Gallery of Scotland opened last weekend. The exhibition is an understated affair, as is so often the way with prints. It is to be found downstairs at the back of the gallery in a small room which even the invigilator I asked had troubles locating. Actually he looked at me blankly, this clearly is not a show expected to pull in the punters. And yet the exhibition’s understatement belies the magnificence of some of the thirty or so prints on display here. The selection comes from the gallery’s extensive print collection and the curatorial idea behind the exhibition is simple and deliberate. The images are presented as ‘icons’, examples of some of the top hitting prints in the history of art, both beautiful and technically masterful. If these were paintings we’d be calling the exhibition a blockbuster. But they’re not, and it is not, and I must admit I am grateful for it as I had the room to myself for almost the entirety of my time there. The exhibition races through history without slavishly observing a chronological ordering, ranging from examples by Beccafumi (one of my personal favourites) to D Y Cameron, from Dürer through to Rembrandt, from Hogarth to Toulouse-Lautrec. It’s a whistle stop tour but the quality of each print can stand it. Despite their diminutive size you can’t take them in in one quick glance (mentally ticking them off from your list of great art to see), not really, there is too much there. Good prints such as these, with their detail and dexterity clearly yet unassumingly present, require a slower pace. Their intimacy makes the viewing experience far more personal and lasting, the lights are dimmed, the room quiet. It would be rude not to give them time, reflecting the slow paced build up such images took to construct in the first place (seven years in Rembrandt’s case).
The League of Ordinary Gentlemen (blog) - Mar 08, 2010
She ridiculed Rembrandt's “visual distortions.” These judgments show her to have been seriously deficient in sensibility and discrimination across a wide
Strolling through the ornate rooms, we're treated to El Greco, Ingres, Rembrandt, Renoir, Monet, and Goya. For an $18 entrance fee, I tell everyone I know
"If you study great artists like Degas, Rembrandt, Goya and Matisse who had long careers, the work looks different as they get older," says Selma Holo,
Past collections can be perused with ease: the capturing of zeitgeist retrospectively appreciated, the timeless beauty of classic admired, and the impact of
And who better for the job than Rembrandt? Simon Schama investigates Rembrandt's life and the crisis that saw him slash one of his greatest masterpieces to
"If you study great artists like Degas, Rembrandt, Goya and Matisse who had long careers, the work looks different as they get older," says Selma Holo, 
"Rembrandt in the Shadow of Rubens" by Sir Christopher White, former director of the Ashmolean Museum, Oxford, 5:30 to 8:30 pm Feb. 
In his early teens he spent a year writing a biography of Rembrandt which he illustrated with his own copies of the works mentioned. 
Past collections can be perused with ease: the capturing of zeitgeist retrospectively appreciated, the timeless beauty of classic admired, and the impact of 
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