LaurieAnnie's photos with the keyword: Rembrandt

Flora, ca. 1654 Object Details Artist: Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Date: ca. 1654 Medium: Oil on canvas Dimensions: 39 3/8 x 36 1/8 in. (100 x 91.8 cm) Classification: Paintings Credit Line: Gift of Archer M. Huntington, in memory of his father, Collis Potter Huntington, 1926 Accession Number: 26.101.10 Unlike many of his ambitious contemporaries, Rembrandt never traveled to Italy. Nonetheless, Italian art had a profound effect on him; in this depiction of the Roman goddess of spring, he responded to the sixteenth-century Venetian master Titian in particular. Still, the somber coloration and rough paint handling make this work unmistakably Rembrandt’s own, and the goddess may be based in part on a portrait of the artist’s deceased wife, Saskia, who had been the muse and inspiration for many of his paintings. Text from: www.metmuseum.org/art/collection/search/437398

Flora, ca. 1654 Object Details Artist: Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Date: ca. 1654 Medium: Oil on canvas Dimensions: 39 3/8 x 36 1/8 in. (100 x 91.8 cm) Classification: Paintings Credit Line: Gift of Archer M. Huntington, in memory of his father, Collis Potter Huntington, 1926 Accession Number: 26.101.10 Unlike many of his ambitious contemporaries, Rembrandt never traveled to Italy. Nonetheless, Italian art had a profound effect on him; in this depiction of the Roman goddess of spring, he responded to the sixteenth-century Venetian master Titian in particular. Still, the somber coloration and rough paint handling make this work unmistakably Rembrandt’s own, and the goddess may be based in part on a portrait of the artist’s deceased wife, Saskia, who had been the muse and inspiration for many of his paintings. Text from: www.metmuseum.org/art/collection/search/437398

Flora, ca. 1654 Object Details Artist: Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Date: ca. 1654 Medium: Oil on canvas Dimensions: 39 3/8 x 36 1/8 in. (100 x 91.8 cm) Classification: Paintings Credit Line: Gift of Archer M. Huntington, in memory of his father, Collis Potter Huntington, 1926 Accession Number: 26.101.10 Unlike many of his ambitious contemporaries, Rembrandt never traveled to Italy. Nonetheless, Italian art had a profound effect on him; in this depiction of the Roman goddess of spring, he responded to the sixteenth-century Venetian master Titian in particular. Still, the somber coloration and rough paint handling make this work unmistakably Rembrandt’s own, and the goddess may be based in part on a portrait of the artist’s deceased wife, Saskia, who had been the muse and inspiration for many of his paintings. Text from: www.metmuseum.org/art/collection/search/437398

Flora, ca. 1654 Object Details Artist: Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Date: ca. 1654 Medium: Oil on canvas Dimensions: 39 3/8 x 36 1/8 in. (100 x 91.8 cm) Classification: Paintings Credit Line: Gift of Archer M. Huntington, in memory of his father, Collis Potter Huntington, 1926 Accession Number: 26.101.10 Unlike many of his ambitious contemporaries, Rembrandt never traveled to Italy. Nonetheless, Italian art had a profound effect on him; in this depiction of the Roman goddess of spring, he responded to the sixteenth-century Venetian master Titian in particular. Still, the somber coloration and rough paint handling make this work unmistakably Rembrandt’s own, and the goddess may be based in part on a portrait of the artist’s deceased wife, Saskia, who had been the muse and inspiration for many of his paintings. Text from: www.metmuseum.org/art/collection/search/437398

Self-portrait Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Date: 1660 Medium: Oil on canvas Dimensions: 31 5/8 x 26 1/2 in. (80.3 x 67.3 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.618 Gallery Label: The dozen or more self-portraits that date from each decade of Rembrandt's career vary considerably in composition, expression and technique. In the late examples, the broad applications of paint convey a candid record of the artist's aging features. Catalogue Entry: This picture bears an autograph signature and date of 1660. In the summer of that year, the artist turned fifty-four years old. The painting is in good condition, especially in the face, which reveals remarkable quality and candor. Originally, the bust and hat must have imparted a stronger sense of volume, consistent with that still found in the head. Rembrandt painted the hat over a smaller cap. The flat impression now made by the hat is not, however, the consequence of that repainting (which occurred at an early moment in the course of work) but of natural darkening in the area. Some indications of folds and other modeling in the hat are discernible in autoradiographs. In the coat or gown, the gray ground shows through in areas and there are signs of heavy overcleaning in the brown paint layer. Thus, what might be taken as a very sketchy handling of the bust is misleading. While the painter's work clothes were indeed broadly brushed, with many strokes of color suggesting local highlights, the bust as a whole would have appeared well-rounded, with a consistent fall of light from the upper left, lending substance to the loose folds descending from the shoulders. The fullness of the material suggests a long gown, worn over a doublet with a turned-up collar and a red waistcoat. Of the approximately forty painted self-portraits by Rembrandt known today, the three-quarter-length standing self-portrait in Vienna, dating from eight years earlier, could be considered the first in which he presents himself in work clothes and, at the same time, with a forthright and confident expression that evokes no other role than that of an artist in his studio. Variations on this theme followed during the 1650s, with the most analogous to this work being the so-called Small Self-portrait of the mid- to late 1650s in the Kunsthistorisches Museum, Vienna, which is probably cut down; the self-portrait of 165[9?] in the National Gallery of Scotland, Edinburgh; the self-portrait dated 1659 in the National Gallery of Art, Washington; and, despite its more inclusive composition, the Self-portrait at the Easel, dated 1660, in the Musée du Louvre, Paris. [2011; adapted from Ref. Liedtke 2007] Text from: www.metmuseum.org/Collections/search-the-collections/1100...

Self-portrait Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Date: 1660 Medium: Oil on canvas Dimensions: 31 5/8 x 26 1/2 in. (80.3 x 67.3 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.618 Gallery Label: The dozen or more self-portraits that date from each decade of Rembrandt's career vary considerably in composition, expression and technique. In the late examples, the broad applications of paint convey a candid record of the artist's aging features. Catalogue Entry: This picture bears an autograph signature and date of 1660. In the summer of that year, the artist turned fifty-four years old. The painting is in good condition, especially in the face, which reveals remarkable quality and candor. Originally, the bust and hat must have imparted a stronger sense of volume, consistent with that still found in the head. Rembrandt painted the hat over a smaller cap. The flat impression now made by the hat is not, however, the consequence of that repainting (which occurred at an early moment in the course of work) but of natural darkening in the area. Some indications of folds and other modeling in the hat are discernible in autoradiographs. In the coat or gown, the gray ground shows through in areas and there are signs of heavy overcleaning in the brown paint layer. Thus, what might be taken as a very sketchy handling of the bust is misleading. While the painter's work clothes were indeed broadly brushed, with many strokes of color suggesting local highlights, the bust as a whole would have appeared well-rounded, with a consistent fall of light from the upper left, lending substance to the loose folds descending from the shoulders. The fullness of the material suggests a long gown, worn over a doublet with a turned-up collar and a red waistcoat. Of the approximately forty painted self-portraits by Rembrandt known today, the three-quarter-length standing self-portrait in Vienna, dating from eight years earlier, could be considered the first in which he presents himself in work clothes and, at the same time, with a forthright and confident expression that evokes no other role than that of an artist in his studio. Variations on this theme followed during the 1650s, with the most analogous to this work being the so-called Small Self-portrait of the mid- to late 1650s in the Kunsthistorisches Museum, Vienna, which is probably cut down; the self-portrait of 165[9?] in the National Gallery of Scotland, Edinburgh; the self-portrait dated 1659 in the National Gallery of Art, Washington; and, despite its more inclusive composition, the Self-portrait at the Easel, dated 1660, in the Musée du Louvre, Paris. [2011; adapted from Ref. Liedtke 2007] Text from: www.metmuseum.org/Collections/search-the-collections/1100...

Woman with a Pink Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Date: ca. 1660–64 Medium: Oil on canvas Dimensions: 36 1/4 x 29 3/8 in. (92.1 x 74.6 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.622 Gallery Label: This picture and its companion, "Man with a Magnifying Glass" (14.40.621), date from the early 1660s. If the identification of the male sitter as Pieter Haringh is correct, then the woman is his wife Elisabeth Delft (ca. 1620–1679). About a decade earlier, in 1651, the same couple was depicted in conventional clothing by the former Rembrandt pupil Jan Victors (1619–after January 1676). The pink, or carnation, is a traditional symbol of love and marriage. Text from: www.metmuseum.org/Collections/search-the-collections/1100...

Woman with a Pink Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Date: ca. 1660–64 Medium: Oil on canvas Dimensions: 36 1/4 x 29 3/8 in. (92.1 x 74.6 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.622 Gallery Label: This picture and its companion, "Man with a Magnifying Glass" (14.40.621), date from the early 1660s. If the identification of the male sitter as Pieter Haringh is correct, then the woman is his wife Elisabeth Delft (ca. 1620–1679). About a decade earlier, in 1651, the same couple was depicted in conventional clothing by the former Rembrandt pupil Jan Victors (1619–after January 1676). The pink, or carnation, is a traditional symbol of love and marriage. Text from: www.metmuseum.org/Collections/search-the-collections/1100...

Portrait of a Woman Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Date: 1633 Medium: Oil on wood Dimensions: Oval, 26 3/4 x 19 3/4 in. (67.9 x 50.2 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.625 Gallery Label: The attribution to Rembrandt has occasionally been doubted, in part on the basis of the mistaken notion that this panel and the superb "Portrait of a Man" of 1632 (64.126) were painted as a pair. Most scholars maintain that this work is autograph, but a few experts consider it a workshop copy. The differences of opinion reflect a broader debate about whether or not Rembrandt made liberal use of apprentices to handle the great demand for portraits by him during the 1630s in Amsterdam. Text from: www.metmuseum.org/Collections/search-the-collections/1100...

Portrait of a Woman Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Date: 1633 Medium: Oil on wood Dimensions: Oval, 26 3/4 x 19 3/4 in. (67.9 x 50.2 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.625 Gallery Label: The attribution to Rembrandt has occasionally been doubted, in part on the basis of the mistaken notion that this panel and the superb "Portrait of a Man" of 1632 (64.126) were painted as a pair. Most scholars maintain that this work is autograph, but a few experts consider it a workshop copy. The differences of opinion reflect a broader debate about whether or not Rembrandt made liberal use of apprentices to handle the great demand for portraits by him during the 1630s in Amsterdam. Text from: www.metmuseum.org/Collections/search-the-collections/1100...

Portrait of a Man Holding Gloves Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Date: 1648 Medium: Oil on wood Dimensions: 31 3/4 x 26 1/2 in. (80.6 x 67.3 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.620 Gallery Label: The style and execution of this portrait are consistent with Rembrandt's own in the 1640s, although some scholars favor an attribution to a pupil or follower. The painting's condition must be taken into consideration. Abrasion in the face has weakened the modeling of the nose and the ears, and the jawline has been retouched. The hand is largely reconstructed. However, the impressive rendering of the eyes, the mouth, and various textures, and the suggestion of dignified character support the longstanding attribution to Rembrandt. Text from: www.metmuseum.org/Collections/search-the-collections/1100...

Portrait of a Woman Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Date: 1633 Medium: Oil on wood Dimensions: Oval, 26 3/4 x 19 3/4 in. (67.9 x 50.2 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.625 Gallery Label: The attribution to Rembrandt has occasionally been doubted, in part on the basis of the mistaken notion that this panel and the superb "Portrait of a Man" of 1632 (64.126) were painted as a pair. Most scholars maintain that this work is autograph, but a few experts consider it a workshop copy. The differences of opinion reflect a broader debate about whether or not Rembrandt made liberal use of apprentices to handle the great demand for portraits by him during the 1630s in Amsterdam. Text from: www.metmuseum.org/Collections/search-the-collections/1100...

Bellona Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Date: 1633 Medium: Oil on canvas Dimensions: 50 x 38 3/8 in. (127 x 97.5 cm) Classification: Paintings Credit Line: The Friedsam Collection, Bequest of Michael Friedsam, 1931 Accession Number: 32.100.23 Gallery Label: The subject of this rather eccentric picture is Bellona, the Roman goddess of war. As in other paintings by Rembrandt of about 1633–34, the figure type is inspired by Rubens, although here the facial features are plainer than in any of the Flemish master's mythological scenes. Like the Dutch spelling, "Belloona," on the shield, the lady may be meant as native to the Netherlands, a new nation ready to resist foreign rule. Images of Mars and Bellona occasionally decorated the headquarters of civic guard companies, which were important social institutions in Amsterdam, Haarlem, and elsewhere. Such a commission may explain some of the painting's most distinctive features, including the attention given to the armor, and perhaps even the substantial revision (revealed by radiographs) of moving the sword and the shield from one hand to the other. Text from: www.metmuseum.org/Collections/search-the-collections/1100...

Bellona Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Date: 1633 Medium: Oil on canvas Dimensions: 50 x 38 3/8 in. (127 x 97.5 cm) Classification: Paintings Credit Line: The Friedsam Collection, Bequest of Michael Friedsam, 1931 Accession Number: 32.100.23 Gallery Label: The subject of this rather eccentric picture is Bellona, the Roman goddess of war. As in other paintings by Rembrandt of about 1633–34, the figure type is inspired by Rubens, although here the facial features are plainer than in any of the Flemish master's mythological scenes. Like the Dutch spelling, "Belloona," on the shield, the lady may be meant as native to the Netherlands, a new nation ready to resist foreign rule. Images of Mars and Bellona occasionally decorated the headquarters of civic guard companies, which were important social institutions in Amsterdam, Haarlem, and elsewhere. Such a commission may explain some of the painting's most distinctive features, including the attention given to the armor, and perhaps even the substantial revision (revealed by radiographs) of moving the sword and the shield from one hand to the other. Text from: www.metmuseum.org/Collections/search-the-collections/1100...

The Standard Bearer (Floris Soop, 1604–1657) Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Date: 1654 Medium: Oil on canvas Dimensions: 55 1/4 x 45 1/4in. (140.3 x 114.9cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.35 Gallery Label: The flag, the plume in the hat, and the tooled leather baldric (or sword-belt) indicate that the figure is an ensign in one of Amsterdam's civic guard companies. He has been identified convincingly as Floris Soop (1604–1657), a wealthy bachelor who owned 140 paintings at the time of his death. Scholars have disputed the extent to which the portrait was painted by Rembrandt himself, a question complicated by its abraded and darkened condition. The picture has been well known since the eighteenth century, when it was owned by Sir Joshua Reynolds. Text from: www.metmuseum.org/Collections/search-the-collections/1100...

Artist: Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Title: The Toilet of Bathsheba Date: 1643 Medium: Oil on wood Dimensions: 22 1/2 x 30 in. (57.2 x 76.2 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.651 Catalogue Entry: This panel is one of several finely painted cabinet pictures made by Rembrandt during the 1640s. The subject of Bathsheba is from the Bible (2 Samuel 11-12) and was common in northern European art from the early sixteenth century onward. Its popularity derived, in part, from the inclusion of a nude female. The theme also carried strong moral associations: King David (barely discernable in the distant palace) spies on and falls in love with the beautiful Bathsheba and arranges for her husband to be killed in battle. He is reprimanded by the prophet Nathan; the child he and Bathsheba had conceived dies, and David repents. Rembrandt painted another work of this subject, about 1632; it is now lost, though known through a copy in the Musée des Beaux Arts, Rennes. His great canvas in the Louvre of 1654 introduces a mood of portending tragedy quite distinct from this earlier treatment. The background of the picture is abraded and the head and torso of the servant are badly worn. However, the foreground and the figures of the old woman and Bathesheba are well preserved, and cleaning of the picture in 1995 revealed an autograph work. Some scholars, beginning with Gerson in 1968 [see Refs.], had considered it a product of the workshop with, perhaps, some retouching by Rembrandt. An etching by Jean Michel Moreau the Younger, dated 1763 (MMA 62.695.125; see Additional Views) clarifies the original effect of space and illustrates how much detail has been lost. A later print by Le Grand [see Ref. Basan 1781] largely agrees with the Moreau etching. However, an etching by John Burnet [see Ref. Smith 1836], dated 1815, shows the background in approximately its present state, indicating that the painting had been drastically overcleaned in the intervening years. [2010; adapted from Ref. Liedtke 2007] Gallery Label: Two servants prepare Bathsheba for her assignation with King David (2 Samuel 11:2–27), who is barely discernable on the roof of his palace in the left background. The painting's precisely descriptive technique, although more familiar from Rembrandt's work of the 1630s, recalls two other history pictures of the early 1640s, "The Visitation" of 1640 in the Detroit Insititute of Arts and "The Woman Taken in Adultery" of 1644 in the National Gallery, London. Unfortunately, the background of the Museum's picture was badly worn during cleaning in the past; its original state is suggested by an engraving of 1763, when the panel was in the famous collection of Count Brühl in Dresden. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Artist: Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Title: The Toilet of Bathsheba Date: 1643 Medium: Oil on wood Dimensions: 22 1/2 x 30 in. (57.2 x 76.2 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.651 Catalogue Entry: This panel is one of several finely painted cabinet pictures made by Rembrandt during the 1640s. The subject of Bathsheba is from the Bible (2 Samuel 11-12) and was common in northern European art from the early sixteenth century onward. Its popularity derived, in part, from the inclusion of a nude female. The theme also carried strong moral associations: King David (barely discernable in the distant palace) spies on and falls in love with the beautiful Bathsheba and arranges for her husband to be killed in battle. He is reprimanded by the prophet Nathan; the child he and Bathsheba had conceived dies, and David repents. Rembrandt painted another work of this subject, about 1632; it is now lost, though known through a copy in the Musée des Beaux Arts, Rennes. His great canvas in the Louvre of 1654 introduces a mood of portending tragedy quite distinct from this earlier treatment. The background of the picture is abraded and the head and torso of the servant are badly worn. However, the foreground and the figures of the old woman and Bathesheba are well preserved, and cleaning of the picture in 1995 revealed an autograph work. Some scholars, beginning with Gerson in 1968 [see Refs.], had considered it a product of the workshop with, perhaps, some retouching by Rembrandt. An etching by Jean Michel Moreau the Younger, dated 1763 (MMA 62.695.125; see Additional Views) clarifies the original effect of space and illustrates how much detail has been lost. A later print by Le Grand [see Ref. Basan 1781] largely agrees with the Moreau etching. However, an etching by John Burnet [see Ref. Smith 1836], dated 1815, shows the background in approximately its present state, indicating that the painting had been drastically overcleaned in the intervening years. [2010; adapted from Ref. Liedtke 2007] Gallery Label: Two servants prepare Bathsheba for her assignation with King David (2 Samuel 11:2–27), who is barely discernable on the roof of his palace in the left background. The painting's precisely descriptive technique, although more familiar from Rembrandt's work of the 1630s, recalls two other history pictures of the early 1640s, "The Visitation" of 1640 in the Detroit Insititute of Arts and "The Woman Taken in Adultery" of 1644 in the National Gallery, London. Unfortunately, the background of the Museum's picture was badly worn during cleaning in the past; its original state is suggested by an engraving of 1763, when the panel was in the famous collection of Count Brühl in Dresden. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...

Artist: Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606–1669 Amsterdam) Title: The Toilet of Bathsheba Date: 1643 Medium: Oil on wood Dimensions: 22 1/2 x 30 in. (57.2 x 76.2 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.651 Catalogue Entry: This panel is one of several finely painted cabinet pictures made by Rembrandt during the 1640s. The subject of Bathsheba is from the Bible (2 Samuel 11-12) and was common in northern European art from the early sixteenth century onward. Its popularity derived, in part, from the inclusion of a nude female. The theme also carried strong moral associations: King David (barely discernable in the distant palace) spies on and falls in love with the beautiful Bathsheba and arranges for her husband to be killed in battle. He is reprimanded by the prophet Nathan; the child he and Bathsheba had conceived dies, and David repents. Rembrandt painted another work of this subject, about 1632; it is now lost, though known through a copy in the Musée des Beaux Arts, Rennes. His great canvas in the Louvre of 1654 introduces a mood of portending tragedy quite distinct from this earlier treatment. The background of the picture is abraded and the head and torso of the servant are badly worn. However, the foreground and the figures of the old woman and Bathesheba are well preserved, and cleaning of the picture in 1995 revealed an autograph work. Some scholars, beginning with Gerson in 1968 [see Refs.], had considered it a product of the workshop with, perhaps, some retouching by Rembrandt. An etching by Jean Michel Moreau the Younger, dated 1763 (MMA 62.695.125; see Additional Views) clarifies the original effect of space and illustrates how much detail has been lost. A later print by Le Grand [see Ref. Basan 1781] largely agrees with the Moreau etching. However, an etching by John Burnet [see Ref. Smith 1836], dated 1815, shows the background in approximately its present state, indicating that the painting had been drastically overcleaned in the intervening years. [2010; adapted from Ref. Liedtke 2007] Gallery Label: Two servants prepare Bathsheba for her assignation with King David (2 Samuel 11:2–27), who is barely discernable on the roof of his palace in the left background. The painting's precisely descriptive technique, although more familiar from Rembrandt's work of the 1630s, recalls two other history pictures of the early 1640s, "The Visitation" of 1640 in the Detroit Insititute of Arts and "The Woman Taken in Adultery" of 1644 in the National Gallery, London. Unfortunately, the background of the Museum's picture was badly worn during cleaning in the past; its original state is suggested by an engraving of 1763, when the panel was in the famous collection of Count Brühl in Dresden. Text from: www.metmuseum.org/Works_of_Art/collection_database/europe...