Telling the Difference Between the work of Rembrandt and his Students

A Young Woman—Hendrickje—Sleeping, Rembrandt Harmensz. van Rijn, about 1654.
A Young Woman—Hendrickje—Sleeping, Rembrandt Harmensz. van Rijn, about 1654.

I woke up this morning and before I had my coffee, I had earned a Masters of Arts in Rembrandt Studies from the J. Paul Getty Museum. I’ve never been to the Getty museum, but that didn’t matter, a short quiz on the web site taught me a little about the way Rembrandt worked. In December, the Getty Museum will present an exploration of the drawings of Rembrandt van Rijn and his students. Rembrandt taught dozens of students to draw in his style, making telling the difference a bit of a challenge– as I confirmed by taking the quiz. Actually, I only got 50 percent of the answers right (one of two), but somehow still earned the certificate. See how you do. The exhibit runs December 8, 2009 to February 28, 2010.

Also on Rembrant at the Wadsworth, Rembrandt’s People, an exhibition that showcases Rembrandt’s portraits with works on loan from distinguished public and private collections in the United States and Canada.  This exhibition runs October 10, 2009 to January 24, 2010. Also at the Wadsworth, don’t miss Music in the Age of Rembrandt, Sunday, Nov 22 2:00 p.m.

About Art After X

With the death of President Kennedy in 1963, America changed. As hard as it is to minimize that sentiment, the effect of Dallas was even greater. The same year saw the merging of the Dallas Museum for Contemporary Arts, which had been central to the art scene, and the Dallas Museum of Fine Arts. Douglas MacAgy, then the director of DMCA, not only opposed the merger, but also declined to directorship of the combined museum. The regionalist movement which had been strong for decades, was giving way to more of an interest in what was going on nationally, and internationally. Like it or not, Dallas was on the national stage.

When the Kennedy’s arrived in Fort Worth, local collectors had decorated a hotel room with internationally-renowned works. While the president and his wife learned a great deal about the ability of Texans to collect major art, there was little they could glean about the local scene in this era-defining city.

With this in mind, we have begun a project to look not back at the art scene in Dallas, but foreword from 1963. We are interviewing gallery owners, curators and others involved in the art scene then, but this will be a story told mostly through interviews with artists active in the city from that point into the 1980s.

The result will be a book with a video component.

We hope you will join us in our journey. The hashtag for the project is #artafterx and the url will point to the latest updates on this weblog.

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