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A CORPUS OF REMBRANDT PAINTINGS Stichting Foundation Rembrandt Research Project A CORPUS OF REMBRANDT PAINTINGS MCMLXXXII MARTINUS NI]HOFF PUBLISHERS The Hague • Boston • London Stichting Foundation Rembrandt Research Project A CORPUS OF REMBRANDT PAINTINGS ]. BRUYN • B. HAAK· S.H. LEVIE P.].]. VAN THIEL· E. VAN DE WETERING with the collaboration of L. PEESE BINKHORST-HOFFSCHOLTE translated by D. COOK-RADMORE MCMLXXXII MARTINUS NI]HOFF PUBLISHERS The Hague • Boston • London Frontispiece: Detail of no. A6, History painting, Leiden, Stedelijk Museum de Lakenhal, on loan from the State-owned art collection department, The Hague. Of this edition 200 copies have been specially bound and numbered 1 -95 1 and 1- v. Su bsc ribers to the complete special bou nd se t will receive subsequent volumes with an identical number. The copies with roman numbers are solely for publishers' use. Stichting Foundation Rembrandt Research Projert Distributor for the United States and Canada: A CORPUS OF REMBRANDT PAINTINGS I Kluwer Boston Inc./ lgo Old Derby Street/H inghnm, MA 02043/USA © [98z, Stichting Foundation Rembrandt Research Project Distributor for all other countries: MCMLXXXII, Martln us NijholT Publishers K luwer Academic Puhlishen; Group/ Dist ribution Center/ The Hague Boston London P.O. Box 322 /3300 AH Dordrecht/The Nt:therlands All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, mechanical, photocopying, recording, or otherwise, without the prior written permission Library of Congress Catalogue Card Number 82-1879° of the publishers. ~artinu s NijhoA· Publishers/P.O. Box 566/ 250 [ CN The Hague/T he Nt:t herlands T ypesetting il nd printing - Koninklijke Drukkerij Van de Garde, Zaltbommcl Lithography - Repro-Koningsvcld , T he Hague Paper - Lutkic & Smit Papier, Culemborg The publication of this work has been made possible by the Binding and uillding lIlateriab -Paardckooper/Wohrmann, financial suppOrt of the Netherlands Organization for the Ad­ Zutphen vancement of Pure Research (Z.W.O.). ISBN-13: 978-94-009-7519·4 e-ISBN-13: 978-94-009-7517-0 001: 10.1007/978-94-009-7517-0 Contents PREFACE IX A 15 Judas, repentant, returning the pieces of silver, 1629. History of the Project IX England, private collection IJ7 The starting point for the study IX A 16 The supper at Emmaus, [1629]. Paris, Musee Objective and working method X Jacquemart-Andre 196 Some reflections on method XIII A 17 An old man asleep by the fire, perhaps typifying Sloth, The catalogue XVII 1629. Turin, Galleria Sabauda 202 Acknowledgments xx A 18 The artist in his studio, [1629]. Boston, Mass., Museum of Fine Arts 208 PHOTO ACKNOWLEDGMENTS XXIV A 19 Self-portrait, 1629. Munich, Bayerische X-RAY ACKNOWLEDGMENTS XXVI Staatsgemaldesammlungen, Alte Pinakothek 214 BIBLIOGRAPHICAL AND OTHER ABBREVIATIONS XXVII A 20 Self-portrait, 1629. Boston, Mass., The Isabella Stewart Gardner Museum 218 A 2 1 Self-portrait, [1629]. The Hague, Koninklijk Kabinet Introduction van Schilderijen, Mauritshuis 225 A 22 Self-portrait in a cap, with the mouth open, [1629]. Chapter I Japan, MOA Museum 231 THE STYLISTIC DEVELOPMENT (J.B., E.V.D.W.) 3 A 23 Bust of a young man, [1629]. Cleveland, Ohio, The Cleveland Museum of Art 241 II Chapter A24 Samson betrayed by Delilah, [1629/1630]. Berlin PAINTING MATERIALS AND WORKING METHODS (E.V.D.W.) II (West), Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie 249 Chapter III A 25 David playing the harp to Saul, [1629/ I 630]. THE DOCUMENTARY VALUE OF EARLY GRAPHIC REPRODUCTIONS Frankfurt am Main, Stadelsches Kunstinstitut 258 (j. B.) 35 A 26 S. Paul at his writing-desk, [1629/ I 630]. Nuremberg, Germanisches Nationalmuseum 266 Chapter IV A27 An old woman at prayer (commonly called A DESCRIPTIVE SURVEY OF THE SIGNATURES (J. B.) 53 Rembrandt's mother), [1629/1630]' Salzburg, Salzburger Landessammlungen-Residenzgalerie 272 BIOGRAPHICAL INFORMATION 61 A28 Jeremiah lamenting the destruction ofJerusalem, 1630. Amsterdam, Rijksmuseum 276 A:9 Bust of an old man in a fur cap (commonly called Catalogue Rembrandt's father), 1630. Innsbruck, Tiroler Landesmuseum Ferdinandeum 285 NOTES ON THE CATALOGUE 64 A 30 The raising of Lazarus, [1630/ I 63 I]. Los Angeles, Cal., Los Angeles County Museum of Art 293 Paintings by Rembrandt A31 Andromeda, [1630/1631]' The Hague, Koninklijk A I The stoning ofS. Stephen, 1625. Lyon, Musee des Kabinet van Schilderijen, Mauritshuis 309 Beaux-Arts 67 A32 Bust of an old woman (commonly called Rembrandt's A 2 Balaam and the ass, 1626. Paris, Musee Cognacq-Jay mother), [1630/1631]' Windsor Castle, H. M. Queen 74 Elizabeth II 315 A 3 Tobit and Anna with the kid, 1626. Amsterdam, A33 Self-portrait, [1630/1631]' Liverpool, Walker Art Rijksmuseum 82 Gallery 322 A 4 Christ driving the moneychangers from the Temple, A34 Simeon in the Temple, 1631. The Hague, Koninklijk 1626. Moscow, Pushkin Museum of Fine Arts 88 Kabinet van Schilderijen, Mauritshuis 331 A5 The baptism of the eunuch, 1626. Utrecht, A35 Christ on the cross, 1631. Le Mas d'Agenais, Lot et Rijksmuseum Het Catharijneconvent 94 Garonne, parish church 338 A6 History painting (subject unidentified), 1626. Leiden, A 36 S. Peter in prison, [163 I]. Belgium, private collection Stedelijk Museum de Lakenhal 104 346 A 7 Musical allegory, 1626. Amsterdam, Rijksmuseum A37 An old woman reading, probably the prophetess Anna II4 (commonly called Rembrandt's mother), 1631. A8 Bust ofa man in a gorget and cap, [1626/1627]. Amsterdam, Rijksmuseum 351 Whereabouts unknown 124 A38 Minerva in her study, [1631]. Berlin (West), A9 David with the head of Goliath before Saul, 1627. Staatliche Museen Preussischer Kulturbesitz, Basle, Oeffentliche Kunstsammlung Basel 129 Gemaldegalerie 358 AIO The rich man from the parable, 1627. Berlin (West), A 39 The abduction of Proserpina, [1631]. Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Staatliche Museen Preussischer Kulturbesitz, Gemaldegalerie 137 Gemaldegalerie 365 All S. Paul in prison, 1627. Stuttgart, Staatsgalerie 143 A 40 The artist in oriental costume, with a poodle at his A 12 Simeon in the Temple, [1627/1628]. Hamburg, feet, 1631. Paris, Musee du Petit Palais 373 Hamburger Kunsthalle 150 A41 Bust ofa young man in a plumed cap, 1631. Toledo, Two old men disputing, probably S. Peter and Ohio, The Toledo Museum of Art 383. S. Paul, [1628]. Melbourne, National Gallery of A 42 Half-length figure of an old man in a gorget and black Victoria 159 cap, [1631]. Chicago, Ill., The Art Institute of Self-portrait, [1628]. Amsterdam, Rijksmuseum 169 Chicago 391 VII Paintings Rembrandt's authorship of which cannot be positively either Bust of an old man. Leipzig DDR, Museum der accepted or rejected bildenden Kiinste 593 B 1 Three singers (Hearing). The Hague, Cramer Bust of an old man wearing a cross. Kassel, Staatliche Gallery 399 Kunstsammlungen Kassel, Schloss Wilhelmshohe 598 B 2 The operation (Touch). The Hague, Cramer Gallery Bust of an old man looking downwards. Copenhagen, 405 Statens Museum for Kunst 603 B 3 The spectacles-pedlar (Sight). S. Peter Port, Guernsey, Bust of an old man in a gorget and cap (commonly colI. D. H. Cevat 410 called Rembrandt's father). Leningrad, The B 4 A man in a gorget and plumed cap. Malibu, CaL, J. Hermitage Museum 605 Paul Getty Museum 416 Bust ofa man in a cap (commonly called Rembrandt's B 5 The artist in a cap and pleated shirt. Stockholm, father). Cambridge, Mass., The Fogg Art Museum Nationalmuseum 424 6II B 6 Bust of a laughing man in a gorget. The Hague, Bust ofa man in a cap (commonly called Rembrandt's Koninklijk Kabinet van Schilderijen, Mauritshuis father). Kassel, Staatliche Kunstsammlungen Kassel, 427 Schloss Wilhelmshohe 615 . B 7 Bust of an old man in a cap (commonly called Bust of a man looking downwards. Oxford, Ashmolean Rembrandt's father). The Hague, Koninklijk Kabinet Museum 619 van Schilder~jen, Mauritshuis 431 Bust of a man wearing a gold chain. Leiden, Stedelijk Museum de Lakenhal 623 Paintings Rembrandt's authorship of which cannot be accepted Bust of a laughing man (commonly called a Self­ C I Samson betrayed by Delilah. Amsterdam, portrait of Rembrandt). ColI. Baron Edmond de Rijksmuseum 439 Rothschild 626 C 2 Esther's feast. Raleigh, N. C., The North Carolina Bust of a young man laughing. Amsterdam, Museum of Art 446 Rijksmuseum 629 C 3 Tobit and Anna. London, The National Gallery 46r Bust of a young man (commonly called a Self-portrait C4 Tobit at his son's return. New York, N.Y., coIL]. of Rembrandt). Cambridge, Mass., The Fogg Art William Middendorf II 467 Museum 634 C 5 The flight into Egypt. Tours, Musee des Beaux-Arts Bust of Rembrandt. Private collection 638 478 Bust of Rem brand t. Private collection 645 C 6 The rest on the flight into Egypt. Formerly Ludlow, Bust of a young man (commonly called a Self-portrait Downton Castle, colI. D. Lennox 483 of Rembrandt). New York, N.Y., The Metropolitan C 7 The tribute money. Ottawa, The National Gallery of Museum of Art 650 Canada 488 Bust of a young man (commonly called a Self-portrait C 8 Christ at the column. Belgium, private collection 497 of Rembrandt). Private collection 654 C 9 Minerva in her study. Denver, Col., The Denver Art Bust of a young man (commonly called a Self-portrait Museum 502 of Rembrandt). Sweden, private collection 658 C IO A biblical or historical nocturnal scene (fragment). Bust of an old woman (commonly called Rembrandt's Tokyo, Bridgestone Museum of Art 508 mother). The Hague, Koninklijk Kabinet van C I I The foot operation. Switzerland, private collection Schilderijen, Mauritshuis 662 512 Bust of an old woman (commonly called Rembrandt's C 12 Travellers resting. The Hague, Koninklijk Kabinet mother).
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  • Art Is Public from Kunstverein to Kunsthalle

    Art Is Public from Kunstverein to Kunsthalle

    ART IS PUBLIC FROM KUNSTVEREIN TO KUNSTHALLE Founded 200 years ago as a civic initiative, the non-prof- tration on local artists is deliberately not intended. The it institution Kunstverein (art association) in Hamburg Dresden-based Norwegian landscape painter Johan holds a firm place in the cultural life of the city ever since. Christian Dahl figures in the exhibition with six paint- It acts as an important intermediary between contempo- ings, his artist friend Caspar David Friedrich, likewise a rary art, artists and the public. As a free city, early 19th resident of Dresden, is represented with three paintings. century Hamburg is devoid of any courtly collecting or Remarkably, in 1826, Hamburg is able to present one of art academy. Therefore, the bourgeois Kunstverein plays Friedrich’s most important works, ›The Polar Sea‹ – a central role in the promotion and dissemination of art. (which you will find displayed in the centre of this room). This commitment culminates in the opening of the Kunst- However, it is only in 1905, almost eighty years later, halle with its public collection in 1869. Time and again, that the Kunsthalle acquires this painting. the Kunstverein and the museum remain in close con- tact, linked both by organisational structures and their programmatic emphases. It is only since the final spatial R oom 2 separation in 1963 that the two institutions have been operating completely independently. 1842 — FIRST EXHIBITION In nine theme rooms, this exhibition highlights OF OLD MASTERS selected events from the history of the Kunstverein. They are closely related to the history and the collection of the Ever since the Kunstverein’s first gathering in 1817, the Hamburger Kunsthalle, thus connecting both institu- Old Masters are one of its main interests.