Monday, 14 July 2014

Rembrandt – part 11

1648 Self Portrait Drawing at a Window 
etching, drypoint and engraving on buff laid paper 15.4 x 12.9 cm


Rembrandt Harmenszoon van Rijn (1606 – 1669) is considered one of the greatest painters and printmakers in European art and the most important in Dutch history. Having achieved youthful success as a portrait painter, Rembrandt’s later years were marked by personal tragedy and financial hardships. Yet his etchings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. His greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.

This is part 11 of a 14 - part post on the works of Rembrandt. For full biographical notes see part 1, the introduction. For earlier works, see parts 2 - 10 also.



1647-48c The Singel in Amersfoort 
pen and bistre and wash 15.3 x 27.7 cm 
The Louvre, Paris

1647-48c The Western Gate 
pen and bistre and wash 16.5 x 22.6 cm 
Teylers Museum, Haarlem

1647-49 The River Amstel Viewed from Blauwbrug 
reed pen and brush in brown parchment 13.2 x 23.1 cm

1647c A Seated Female Nude as Susanna 
sketch 20.3 x 16.4 cm 
Kupperstichkabinett, Staatliche Museen, Preussischer Kulturbesitz, Berlin

1647c Farm-Buildings at the Dijk 
pen and bistre, washes in bistre and India ink 14.3 x 24.2 cm 
The British Museum, London

1647c Jan Six with a Dog, Standing by an Open Window 
pen sketch 22 x 17.5 cm 
Six Collection, Amsterdam

1648 Beggars Receiving Alms at the Door of a House 
etching and drypoint on ivory laid paper 17  x 12.7 cm

1648 Medea: or the Marriage of Jason and Creusa 
etching and drypoint on paper 24 x 17.7 cm

1648 Portrait of a Man Holding Gloves 
oil on wood 80.6 x 67.3 cm 
The Metropolitan Museum of Art, New York

1648 St. Jerome Beside a Pollard Willow 
etching and drypoint on ivory laid paper 18 x 13.3 cm

1648 The Pharisees in the Temple 
etching and drypoint on paper 7.1 x 12.9 cm

1648 The Supper at Emmaus 
oil on panel 68 x 65 cm The Louvre, Paris

1648-52 Abraham sends Hagar and Ishmael Away 
ink sketch on paper 17.1 x 22.4 cm

1648-52 David Receiving the News of Uriah’s Death 
ink sketch on paper 19.5 x 29.3 cm

1648-52 Landscape with a Drinking Cow 
etching and drypoint on Oriental paper 10.3 x 12.8 cm

1648-52 Landscape with a Milkman 
etching and drypoint on Oriental paper 6.4 x 17.5 cm

1648-52 Landscape with Obelisk 
etching and drypoint on paper 8.3 x 16.1 cm

1648-52 The Angel Appears to Joseph in a Dream 
ink sketch on paper 18.7 x 18.8 cm

1648-52 The Proclamation to the Shepherds 
ink and wash sketch on paper 21.9 x 18 cm

1648-52 Winter Scene with a Canal, Houses and Two Boats 
ink and wash sketch on paper 10.4 x 18 cm

1648-55c The Agony in the Garden 
pen and brown ink and brown wash on paper 19.6 x 19 cm 
Fitzwilliam Museum, Cambridge, UK

1648-56c Head of Christ 
oil on panel 25.5 x 20.1 cm 
Private Collection

1648c Portrait of a Man Reading 
oil on canvas 66.5 x 58 cm 
The Sterling and Francine Clark Art Institute, Williamstown, MA

1649 Bust of Bald-Headed Man in a Fur Coat 
etching on paper 7 x 6 cm

1649 The Hundred Guilder Print:

1646-50c Studies for the Sick Woman on the Hundred Guilder Print 
ink sketch on paper 10.1 x 12.2 cm

1649 The Hundred Guilder Print 
etching and drypoint on tan Japan paper 27.9 x 39.3 cm

1649-50 Fragment cut from the plate of "The Hundred Guilder" print 
etching, drypoint and burin on paper 14.1 x 7.5 cm

1649-50 Fragment from "The Hundred Guilder" print 
etching, drypoint and burin on paper 5.4 x 7.4 cm

1649-50 Fragment from "The Hundred Guilder" 
print etching, drypoint and burin on paper 19 x 12.2 cm

1649-50c Fragment from "The Hundred Guilder" print 
etching, drypoint and burin on paper 27.7 x 18.9 cm cm

1649-50c Tobias, Frightened by the Fish 
pen and bistre 20.6 x 28.9 cm 
Kobberstiksamling, Copenhagen

1649-53 Epiphany: a Night Piece 
etching and drypoint on paper 9.4 x 14.2 cm

1649-53 View of Some Houses with Trees and a Tower 
etching and drypoint on paper 12.2 x 32 cm

1650 Canal with a Large Boat and Bridge 
etching and drypoint on ivory laid paper 8.3 x 10.9 cm

1650 Landscape with a Square Tower 
etching and drypoint on off-white laid paper 8.8 x 15.6 cm

1650 Portrait of a Man in Military Costume ( attributed to ) 
oil on panel 128 x 103.8 cm 
Fitzwilliam Museum, Cambridge, UK

1650 The Shell

Collecting exotic shells was a popular hobby in the 17th century, and it excited Rembrandt’s interest too. He had a small natural history collection of his own, including this marbled cone shell; it is similar in shape to the Conus Cervus, a ‘Deer’ cone. He rendered the form and markings of the shell with meticulous care on the copperplate. Note that the shell appears in mirror image.

1650 The Shell ( Conus Marmoreus ) 
etching, drypoint and burin on paper 9.7 x 12.9 cm

1650 Water with Fishermen and Two Swans - The Angler 
etching and drypoint on paper 8.2 x 10.8 cm

1650-52 (Hostel) in the Bend of a River pen in black and brown and brush in grey on light brown paper 14.1 x 20 cm

1650-52 Daniel in the Lion's Den 
ink and wash sketch on paper 22.2 x 18.4 cm

1650-52 Joseph in Prison Explains the Dreams of the Butler and the Baker 
ink sketch on paper 15.7 x 18.9 cm

1650-52 Susanna and the Elders 
pen in brown ink on white ( oxidized ) and subsequent brush in grey 20.1 x 18.8 cm

1650-52 The Bullock 
etching on paper 7.6 x 10.5 cm

1650-52 Tobias and the Angel say Goodbye to Raquel 
ink sketch on paper 19.4 x 27.3 cm

1650-52c A Farm on the Amsteldijk 
brown ink, brown wash and white gouache on cream antique laid paper 10.9 x 22.1 cm 
Harvard Art Museums - Fogg Museum, Cambridge, MA

1650-52c Head of Christ 
oil on wood 25 x 21.5 cm 
Staatliche Museen, Berlin

1650-52c Lion Resting, Turned to the Left 
ink and wash sketch 13.8 x 20.4 cm 
The Louvre, Paris

1650-59 Lying Lion 
ink and wash sketch on paper 14.1 x 20.4 cm

1650-53c Cottage Beside a Canal 
pen and brown ink with touches of brush and brown wash on cream laid paper 14.9 x 24.8 cm 
Art Institute of Chicago, IL

1650-54 Christ Preaching ( "La Petite Tombe" ) 
etching, burin and drypoint on ivory laid paper 15.5 x 20.7 cm

1650-54 Landscape with a Road beside a Ditch 
drypoint on Oriental paper 7.8 x 20.9 cm

1650-54 Peasant Family on the Tramp 
etching on ivory laid paper 11.4 x 9.3 cm

1650-54 The Adoration of the Shepherds: A Night Piece 
etching on paper 14.9 x 19.5 cm

1650-55 Christ Heals a Leper 
ink sketch on paper 14.7 x 17.7 cm

1650-55 Portrait of Hendrickje Stoffels with a Velvet Beret  (1654-56 Portrait of Hendrickje Stoffels), (1656c Portrait of Hendrickje Stoffels)

Hendrickje Stoffels entered Rembrandt's household as a housekeeper and dry nurse to his son Titus in 1649, seven years after the death of his wife Saskia. Hendrickje became Rembrandt's mistress, and in 1654 she gave birth to their daughter Cornelia. Hendrickje died in 1663.
There is no documented portrait of Hendrickje Stoffels, and the identification of the sitter in this painting is largely based on the knowledge of the sitter's relationship with the artist, and the informality and affection with which she is represented. Her hair is decorated with jewels and she is shown wearing a fur wrap, with pearl earrings and a chain around her neck.
The free brushwork, particularly in Hendrickje's wrap, has led to suggestions that the painting is unfinished. Yet given that the painting is signed, it is likely that Rembrandt himself considered it finished. The meticulous execution of the subject's face, giving it greater emphasis, is a technique found in many of Rembrandt's portraits.



1650-55 Portrait of Hendrickje Stoffels with a Velvet Beret 
oil on canvas 74 x 61 cm 
The Louvre, Paris

1650-55 The Dream of St Joseph 
oil on canvas105 x 83 cm 
Szépmûvészeti Múzeum, Budapest

1650-55 The Tower Swijgh Utrecht to Amsterdam 
sketch on paper 16.6 x 23.5 cm

1650-55c The Mocking of Christ 
pen and brown ink on paper 18.1 x 24.6 cm 
The J. Paul Getty Museum, Los Angeles, CA

1650-66 Self-Portrait in Cloak with Flat Collar 
etching and engraving on paper 8.5 x 7.1 cm

1650c A Haystack near a Farm 12.8 x 20 cm 
Chatsworth House, Derbyshire, UK

1650c A Sailing Boat on a Wide Expanse of Water 
pen and brown ink and brown wash on tinted paper 8.9 x 18.3 cm 
The J. Paul Getty Museum, Los Angeles, CA

1650c A Wooded Road 
pen and brown ink and brown  wash on paper 15.9 x 20.2 cm 
The J. Paul Getty Museum, Los Angeles, CA

1650c Christ and the Canaanite Woman 
pen and brown ink and brown wash, corrections in white gouache on paper 20 x 27.9 cm 
The J. Paul Getty Museum, Los Angeles, CA

1650c Farmhouse Beneath Trees, with a Footbridge 
reed pen and brown ink, grey wash and white highlighting on paper 15.7 x 18.1 cm 
Fitzwilliam Museum, Cambridge, UK

1650c Landscape with a Cow Drinking 
etching and drypoint on ivory laid paper 10.2 x 12.9 cm

1650c Landscape with Three Gabled Cottages beside a Road 
etching and drypoint on off-white laid paper

1650c Man in a Golden Helmet 
oil on canvas 67.5 x 50.7 cm 
Staatliche Museen, Berlin

1650c The Mill 
oil on canvas 87.5 x 105.5 cm 
National Gallery of Art, Washington, DC

1650c View of Houtewaal 
ink and wash sketch 12.5 x 18.2 cm 
Chatsworth, Derbyshire, UK

1650s Drawing from the Nude Model in Rembrandt's Studio 
pen and brush in a brown wash over a chalk drawing 18 x 26.6 cm 
Hessisches Landesmuseum, Darmstadt, Germany

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