Rembrandt

Object category: painting
Support/medium: panel (oak), oil paint
The panel of this painting comes from the same tree as the one used for the Self Portrait in the Wallace Collection in London (RKD Images no. 30284).
Shape/dimensions: rectangle (portrait format) 58.3 x 47.4 cm

Signature/inscription Information about the signature, dating, inscription or any other mark on the front or back of the art work

remnants of signature and date lower right: R[..]mbrandt.f / 1634
label on the back: Maurice Robinot, Emballeur / 9, Rue Sédillot – Paris-7e / Salon"A - 100
label exhibition "Chef-d’oeuvre des Musées de Berlin"

Current attribution: Rembrandt

Date Exact or approximate dating of the described art work; the search parameters adopted for this art work in this database, are found in brackets.: dated 1634 (1634)

Subject

Title Title of the art-work in Dutch: Zelfportret met fluwelen baret
English title: Self portrait with a velvet beret
Genre: portrait
Keywords: portrait, man's portrait, self-portrait, bust-length portrait, head frontal, body facing right, facing front, beret, curly hair, moustache, soul patch, scarf, mantle, fur collar

IB number Number related to the portrait iconography collection RKD.: 16290

Rembrandt van Rijn 1606-07-15 - 1669-10-04

Name

Rijn, Rembrandt van

Sex

m

Date/place of birth

Leiden (stad) 1606-07-15

Date/place of death

Amsterdam (stad) 1669-10-04

Occupation

Kunstschilder te Leiden en Amsterdam.

Marriage(s)

Sint Annaparochie 1634-06-27
Saskia van Uylenburgh

Identification based on: resemblance

Artistically related to other work Such as a preparatory studie, comparable composition, other version, or copy of the artwork in this record.

used as model for
Gedeon Romandon
oil on canvas, 56 x 43 cm (oval), Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg, Schloss Charlottenburg

The copy by Gedeon Romandon was set over a panelling in Schloss Charlottenburg as a "supraporte" or "overdoor" and is mentioned in the inventory of 1705: "Raum 111, Ihrer Königl. Maytt: der Königin Schlafzimmer, 75. der Mahler Rubens en oval über der Thür nach dem Schreib Cabinet, 1. Fuß 8 1/2 zoll hoch, 1.Fuß 3 1/2 zoll breit" (Berlin 1999/2000, p.351, 368, fig. 35).
used as model for
Friedrich Wilhelm I von Preußen
oil on canvas, 82.5 x 65.5 cm, 1736, Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg, Schloss Königs Wusterhausen, inv. no. GK I 6042 (Potsdam 1990, p.45)
used as model for
Jean-Baptiste Carpeaux, Rembrandts 'Zelfportret van Rembrandt'
used as model for
Anoniem
oil on canvas, 70 x 54 cm, Staatliches Museum Schwerin, inv. no. G 1671
used as model for
Anoniem
oil on canvas, 55 x 47 cm, in 1883 in the inventory of Großherzogin Luise von Baden in Schloss Babelsberg (Bartoschek / Vogtherr 2004, S. 391, no. GK I 4681; it is possible this description refers to the other self-portrait in the collection of the Gemäldegalerie (cat. no. 808).
used as model for
Anoniem
oil on panel, 59 x 48 cm; Leo Spik (Berlin), 2014-12, no. 205
copied in print by
Georg Friedrich Schmidt, Rembrandts 'Zelfportret met fluwelen baret'
copied in print by
Johann Andreas Benjamin Nothnagel, Rembrandts 'Zelfportret met fluwelen baret'
copied in print by
Johann Georg Hertel (II), Rembrandts 'Zelfportret met fluwelen baret'
copied in print by
Friedrich Christian Gottlieb Geyser, Rembrandts 'Zelfportret met fluwelen baret'
copied in print by
A. Krüger
etching by Albert Krüger, 265 x 215 mm, SMB Kupferstichkabinett, inv. no. 83-910 (location S Gal 11/2)

published in: Bode 1899-1909, vol. 4, p. 26; Eckardt 1974, p. 313
copied in print by
Johann Heinrich Rode
etching, 106 x 87 mm, with inscription upper left "Rembr. [...]" and signed and dated lower edge "1751 JHR", SMB Kupferstichkabinett, inv. no. 972-109 (location S Gal 2/23)
copied in print by
Ludwig Heine (Friedrich Ludwig)
etching, 315 x 266 cm, with inscription "gemalt von Rembrandt – gedr. von M.G. Helmlehner – gez. von Ludw. Heine", SMB Kupferstichkabinett, inv. no. 990-139 (location W Gal 10/16)

Collection(s)

private collection Friedrich I von Preußen, Berliner Stadtschloss/Oranienburg/Honselaarsdijk
A copy of the painting, now located in Schloss Charlottenburg, was made by Gedeon Romandon (1667-1697) (oil on canvas, 56 x 43 cm, Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg). Romandon was the courtpainter of the Great Elector and his son Elector Friedrich III (later Friedrich I von Preußen (1657-1713)) and subsequently from 1687-1697 of the Prussian court. The present self- portrait must have been at least from 1697 in the collection of Friedrich I von Preußen, but it is possible it was already in the collection of the Great Elector (1620-1688).
private collection Friedrich Wilhelm I von Preußen, Berlin
In 1736 Friedrich Wilhelm I von Preußen (1688-1740) made a copy after the self-portrait (oil on canvas, 82.5 x 65.5 cm, Schloss Königs Wusterhausen, Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg (Klepper 1938, p. 16; Potsdam 1990, p. 45). The paintings which Friedrich Wilhelm I von Preußen copied where usually part of his collection. He signed these copies with the inscription "F.W.R. in tormentis pinxit [year]" (Nicolai 1769, S. 367). Most probably the self-portrait was part of his collection which was located in the Berliner Stadtschloss.
private collection Friedrich Wilhelm II von Preußen, Potsdam/Berlin
In 1790 the painting is recorded in the catalogue of the picture gallery of the Königlichen Schloß Berlin: "REMBRANDT. Sein eigenes Portrait (Puhlmann 1790, no. 19) and in 1794 by Rumpf: "Die Gemäldegallerie: Rembrandts Bildnis, von ihm selbst. Eines der schönsten von den vielen dieser Art; mit glühenden, kräftigen Schatten und wahren Lokaltinten" (Rumpf 1794, p. 88).
private collection Friedrich Wilhelm III von Preußen, Berliner Stadtschloss/Charlottenburg (Berlin)/Potsdamer Stadtschloss
Around 1829 the painting is mentioned in the list of the paintings located in the picture gallery (and adjoining rooms) of the Berliner Schloßand recorded under no. 58: "Paul Rembrandt, Des Künstlers eigenes Bildniß" (Vogtherr 2005, p. 82; here confused with the other Berlin self-portrait cat. no. 808) and recorded in "Verzeichnis derjenigen Gemälde, welche von der Commission zur Einrichtung des Königl. Museums aus den Königl. Schlössern zu Berlin und Charlottenburg, als für das Museum geeignet, ausgewählt worden sind" as: "Berliner Schloss, Bilder Gallerie: 66. Rembrandt, Eigenes Portrait, Holz 1634 [in Bleistift dahinter]" (undated document, Zentralarchiv, SMB-ZA, I/GG 363).
Gemäldegalerie der Königliche Museen zu Berlin, Berlin , inv./cat.nr Waagen no. II/297 (catalogue 1830); inv. no I. 902 (inventory 1833)
1830 - In the inventory of 1833 the self-portrait is recorded under inv. no. I.902 as: "Rembrandt van Rijn. – Mit dem Namen und 1634 bez. - Selbstbildniss. – h. 0,57, br. 0,47 – Eichen=Holz – Königliche Schlösser. – Im Ganzen gut erhalten". In 1904 the painting was transferred to the Kaiser Friedrich Museum (at present Bodemuseum). In the period from September 1941 – September 1942 the painting, together with other works of art of the Gemäldegalerie, was located in the flak towers of Leitturm Berlin-Friedrichshain. From 11 March - 7 April 1945 the paintings were transported from Berlin to the salt mines of Kaiseroda-Merkers, where the works of art were stored until they were discovered and confiscated by the Americans. On 17 April 1945 they moved the works of art, including the painting, to the Reichsbank in Frankfurt am Main. From 20 August-31 August 1945 the works of art were removed from the Reichsbank and temporary stored in the Central Art Collecting Point Wiesbaden, located in Landesmuseum Wiesbaden (inventory number WIE 0/13). The self portrait , together with more than 200 other works of art of the Gemäldegalerie, moved from 20 November until 7 December 1945 to The National Gallery in Washington (Box no. 34, (17) (21); image no. 158 (Farmer 2002, p. 189); see also the pink-coloured file card on the back of the painting). Most probably the painting was transported back to Wiesbaden in April 1949. On 20 April 1949 the American trusteeship was handed over to the state Hessen. On 11 January 1956 the works of art of the Berlin Gemäldegalerie officially came within the escrow of Berlin and the return of the works of art from Wiesbaden to Berlin began. The collection of paintings was located in the Gemäldegalerie in Dahlem (Berlin West) until 1998.
Gemäldegalerie (Staatliche Museen zu Berlin), Berlin , inv./cat.nr 810
From 1998 onwards the collection of old master paintings of the Staatliche Museen is located in the Gemäldegalerie at the Kulturforum.

Exhibitions

Rembrandt-Ausstellung [Berlijn, 1930] Akademie der Künste Berlin , Berlin , 1930-02-22 - 1930-04-06 , cat. no. 369
Paintings from the Berlin museums : exhibited at the request of the department of the army National Gallery of Art [Smithsonian Institution] , Washington (D.C.) , 1948-03-17 - 1948-05-25 , cat. no. 157
Paintings from the Berlin museums : exhibited in co-operation with the department of the army of the United States of America Metropolitan Museum of Art , New York City , 1948-05-17 - 1948-06-13 , cat. no. 93
Paintings from the Berlin Museums. Exhibited in Co-operation with the department of the army, (Philadelphia Museum of Art) Philadelphia Museum of Art , Philadelphia (Pennsylvania) , 1948-06-19 - 1948-07-07 , cat. no. 93
Masterpieces of Paintings. Saved from the German Salt Mines. Property of the Berlin Museums. Exhibited in Cooperation with the Department of the Army of the United States of America (The Art Institute of Chicago) The Art Institute of Chicago , Chicago (Illinois) , 1948-07-15 - 1948-08-04 , cat. no. 93
Paintings from the Berlin Museums. Exhibited in Co-operation with the Department of the Army of the United States of America (Museum of Fine Arts Boston) Museum of Fine Arts Boston , Boston (Massachusetts) , 1948-08-14 - 1948-08-31 , cat. no. 93
Masterpieces from the Berlin Museums. Exhibited in Cooperation with the Department of the Army of the United States of America Detroit Institute of Arts , Detroit (Michigan) , 1948-09-10 - 1948-09-26 , cat. no. 93
Masterpieces from the Berlin Museums. Exhibited in Cooperation with the Department of the Army of the United States of America Cleveland Museum of Art , Cleveland (Ohio) , 1948-10-06 - 1948-10-22 , cat. no. 93
Masterpieces from the Berlin Museums. Exhibited in Cooperation with the Department of the Army of the United States of America The Minneapolis Institute of Arts , Minneapolis (Minnesota) , 1948-11-02 - 1948-11-17 , cat. no. 93
Masterpieces from the Berlin Museums. Exhibited in Cooperation with the Department of the Army of the United States of America M.H. de Young Memorial Museum , San Francisco , 1948-12-11 - 1948-12-29 , cat. no. 93
Masterpieces from the Berlin Museums. Exhibited in Cooperation with the Department of the Army of the United States of America Los Angeles County Museum , Los Angeles (California) , 1949-01-04 - 1949-01-22 , cat. no. 93
Masterpieces from the Berlin Museums. Exhibited in Cooperation with the Department of the Army of the United States of America City Art Museum of St. Louis , Saint Louis (Missouri) , 1949-01-31 - 1949-02-17 , cat. no. 93
Masterpieces from the Berlin Museums. Exhibited in Cooperation with the Department of the Army of the United States of America City Art Museum of St. Louis , Pittsburgh (Pennsylvania) , 1949-02-27 - 1949-03-14 , cat. no. 93
Masterpieces from the Berlin Museums. Exhibited in Cooperation with the Department of the Army of the United States of America Toledo Museum of Art , Toledo (Ohio) , 1949-03-22 - 1949-03-31 , cat. no. 93
Returned masterworks = Zurückgekehrte Meisterwerke aus dem Besitz Berliner Museen. IX. Ausstellung [1948] Landesmuseum/Central Collecting Point , Wiesbaden , 1948-09-23 - 1949-03-22 , cat. no. 136
120 Beroemde schilderijen uit het Kaiser-Friedrich-Museum te Berlijn Rijksmuseum Amsterdam , Amsterdam (city) , 1950-06-17 - 1950-09-17 , cat. no. 79
Chefs-d'oeuvre des musées de Berlin [Brussel, 1950] Paleis voor Schone Kunsten , Brussels , 1950-09-27 - 1950-12-27 , cat. no 79
Chefs-d'oeuvre des musées de Berlin Petit Palais des Champs-Élysées , Paris , 1951-02-02 - 1952-05-10 , cat. no. 100
Meisterwerke aus den Berliner Museen : Europäische Malerei des 17. und 18. Jahrhunderts Museum Dahlem , Berlin , 1951-09-07 - 1952-03-30 , cat. no. 70
Meisterwerke aus den Berliner Museen und Schlössern. Gemälde alter Meister. Gemälde aus dem 19. Jahrhundert Museum Dahlem , Berlin , 1953-05-09 - 1953-11 , cat. no. 47
Rembrandt : Gedächtnis-Ausstellung 1606-1669 : Gemälde - Zeichnungen - Radierungen Museum Dahlem , Berlin , 1956-05-27 - 1956-07-15 , cat. no. 6
Friedrich Wilhelm I. Der Soldatenkönig als Maler Schloss Sanssouci , Potsdam , 1990 , cat. no. I.18
Rembrandt by himself National Gallery [London] , London (England) , 1999-06-09 - 1999-09-05 , cat. no. 39
Rembrandt zelf Koninklijk Kabinet van Schilderijen Mauritshuis , The Hague (city) , 1999-09-25 - 2000-01-09 , cat. no. 39
Rembrandt's hidden self-portraits = Rembrandts verborgen zelfportretten Museum Het Rembrandthuis , Amsterdam (city) , 2003-01-31 - 2003-03-16 , cat. no. 28
Rembrandt : zoektocht van een genie Museum Het Rembrandthuis , Amsterdam (city) , 2006-04-01 - 2006-07-02 , cat. no. 19
Rembrandt : Genie auf der Suche Gemäldegalerie (Staatliche Museen zu Berlin) , Berlin , 2006-08-04 - 2006-11-05 , cat. no. 19

Literature

Vosmaer 1877 , p. 69
Schlie 1882 , no. 857
Berlin 1883 , p. 363
Bode 1883 , p. 410, 562, no. 37
London 1854 , vol. 1, p. 396
Muther 1889 , p. 280 , also in edition of 1891
Berlin 1898 , p. 242
Michel 1893 , p. 215, fig. p. 551
Moes 1897-1905 , vol. 2, no. 6693.22
Bode/Hofstede de Groot 1897-1905 , vol. 3, no. 167
Berlin 1904 , p. 309-310
Schubring 1905 , p. 260
Gabriel 1907 , p. 16
Rosenberg/Valentiner 1909 , p. 570
Berlin 1909A , p. 230
Von Wurzbach 1906-1911 , vol. 2 (1910), p. 396
Posse 1911 , p. 178-179
Berlin 1912 , p. 346-347
Fischel [s.a.] , p. 22, 86
Hofstede de Groot 1907-1928 (German edition) , vol. 6 (1915), no. 526
Van Dyke 1923 , p. 121
Weisbach 1926 , P. 84
Henschel-Simon 1930 , p. 50
Friedländer 1930 , no. 369
Berlin 1931 , p. 379, 380
Berlin 1932 , p. 121
Bredius 1935 , no. 21
Benesch 1935 , p. 17
Pinder 1943 , p. 46, fig. p. 44
Chicago 1948 , no. 93
Detroit 1948 , no. 93
New York 1948 , no. 93
Washington 1948 , no. 157
Rosenberg 1948 , vol. 1, p. 25
Wiesbaden 1948 , no. 136
Brussels 1950 , no. 79
Amsterdam 1950 (Berlin) , no. 79
Paris 1951 , no. 100
Gerson 1952 , p. 9
Berlin 1952 , no. 70
Zimmermann 1956 , no. 6
Bauch 1966 , no. 308
Rosenberg/Slive/Ter Kuile 1966 , p. 55
Erpel 1967 , no. 53
Gerson 1968 , no. 158
Brochhagen 1969 , p. 161
Bredius/Gerson 1969 , no. 21
Berlin 1975 , p. 340 , also in edition of 1978
Bolten/Bolten-Rempt 1978 , no. 181
Kocks 1981 , p. 46, 228, 328
Wright 1982 , no. 46
Schwartz 1985 , no. 200
Bock 1985 , p. 220
Tümpel 1986 , no. 164
Bock et al. 1986 , p. 63
Corpus of Rembrandt Paintings 1982-2015 , vol. 2 (1986), no. A 96
Chapman 1990 , p. 30
Grimm 1991 , p. 100-101, 104
Brown/Kelch/ Van Thiel 1991 , p. 320
Slatkes 1992 , no. 246
Geismeier 1995 , p. 7-21 , as a copy
Bock/Grosshans 1996 , p. 101, 374
Sommer et al. 1996 , no. 87
Schama 1999 , p. 363
White et al. 1999 , no. 39
Schama 1999 , p. 362-363
White 1999A , no. 39
Czichos 2002 , p. 67-70
Van de Wetering 2003 , p. 23
Bartoschek/Vogtherr 2004 , p. 391
Vogtherr 2005 , p. 61-105, p. 100, no. 287
Corpus of Rembrandt Paintings 1982-2015 , vol. 4 (2005), p. 207, 213, 215-216
Van de Wetering/Kelch/Van den Boogert 2006 , p. 23
Kelch/Van de Wetering 2006 , no. 19
Stehr 2011 , p. 37, 148
Corpus of Rembrandt Paintings 1982-2015 , vol. 6 (2015), no. 123

J.D.F. Rumpf, Beschreibung der aeuszeren und innern Merkwürdigkeiten der Königlichen Schlösser in Berlin, Charlottenburg Schönhausen in und bey Potsdam 1794, p. 88
G. F. Waagen, Verzeichnis der Gemälde-Sammlung des Königlichen Museums zu Berlin, Berlin 1830, no. II/297
F. Kugler, Beschreibung der Gemäldegalerie des königlichen Museums zu Berlin, Berlin 1836, p. 229
Meyer, W. Bode, Königliche Museen. Gemälde-Galerie. Beschreibenes Verzeichnis der während des Umbaus ausgestellten Gemälde, Berlin 1878, p. cat. no. 810
W. Bode, A. Goldschmidt, Die Gemälde-Galerie der Königlichen Museen zu Berlin, 4 Bde, Berlin 1899-1909, vol. 4, p. 35
Führer durch das Kaiser Friedrich-Museum, Berlin 1914 (expanded and revised 5th edition of 1904), p. 128
J.C. van Dyke, New Guides to Old Masters. Berlin, Dresden. Critical Notes on the Kaiser-Friedrich Museum and the Royal Gallery, Dresden, New York 1914, p. 86
Führer durch die Staatlichen Museen zu Berlin. Das Kaiser-Friedrich-Museum, Berlin 1919 (expanded and revised 4th edition of 1910), p. 484
Führer durch das Kaiser Friedrich-Museum, Berlin 1920 (expanded and revised 6th edition of 1904), p. 145
H. Makowsky, Beschreibendes Verzeichnis der Gemälde im Kaiser Friedrich Museum, Berlin/Leipzig 1921 (expanded and revised 8th edition of 1878), p. 372
J. Klepper, In tormentis pinxit. Briefe und Bilder des Soldatenkönigs, Stuttgart/Berlin 1938, p. 16
W. Martin, Rembrandt en zijn tijd, Amsterdam 1942, p. 14, 27
exh. cat. Paintings from the Berlin Museums. Exhibited in Co-operation with the department of the army, Philadelphia (Philadelphia Museum of Art) 1948, no. 93
exh. cat. Meisterwerke aus den Berliner Museen und Schlössern. Gemälde alter Meister. Gemälde aus dem 19. Jahrhundert, Berlin (Museum Dahlem) 1953, no. 47
E. Rücker, G. Neumann, G. Arnolds, Staatliche Museen Berlin. Gemälde des XIII. bis XVIII. Jahrhunderts, Berlin (West) 1956, 1959, 1960, 1961, 1962, p. 56; 1963 (expanded and revised 8th edition of 1956) 1964, 1966, 1968, p. 88
R. Klessmann, Holländische Malerei des 19. Jahrhunderts, Berlin 1969, p. 18-19
G. Eckardt, Die Bildergalerie in Sanssouci, dissertation, Berlin 1974, p. 294
exh. cat. Friedrich Wilhelm I. Der Soldatenkönig als Maler, Potsdam (Turmgalerie der Orangerie in Sanssouci) 1990, no. I.18
H. Bock et al., Gemäldegalerie Berlin. 200 Meisterwerke, Berlin 1998, p. 250
exh. cat. Sophie Charlotte und ihr Schloß. Ein Musenhof des Barock in Brandenburg-Preußen, Berlin (Schloss Charlottenburg), 1999/2000, p.351, 368, fig. 35
R. Grosshans, J. Kelch, Gemäldegalerie Berlin. 50 Masterpieces, London 2001, p. 90

Visual documentation

Location image Location of the image in the visual documentation.

TD/Digital collection (img.nr. 0001506113)
BD/Digital Collection (img.nr. 0000271087)
BD/Digital Collection (img.nr. 0000215709)
BD/RKD/1818 - IB/XVIIB on Rijn (img.nr. IB00016290)
, Original location BD/RKD/0612 - ONS/Portraits: Rembrandt and School (img.nr. 0000063079)
, Original location BD/RKD/0700 - ONS/Dated Works (img.nr. 0000088867)

Project: The Rembrandt Database
The Rembrandt Database - research project Berlin Gemäldegalerie
RemBench
Gerson Digital : Germany

25 hits in RKD technical, relating to:

Technical examination type

Research and restoration projects

condition check, 1877-06-01 1 hits"Nr. 810 Rembrandts herrliches Gemälde, das Selbstbildnis des Künstlers, erscheint in der eigenthümlich dunkelbraun-gelb beschatteten Stirn geradezu wie von einem feuchten Thau angehaucht" (quotation in Berliner Tagesblatt; Zentralarchiv SMB, ZA:II/KFM 39)
conservation, 1888-04-05 — 1889-01-10 1 hits"Bild soll von den Restaurator Hauser restauriert werden" (note in Protokoll der Sitzung der Sachverständigen-Commission der Gemäldegalerie; Zentralarchiv SMB, ZA: I/GG 48).
":[…] von den in Restauration befindlichen Gemälden sind folgende fertig gestellt worden durch Restaurator Hauser: No 810. Rembrandt, Selbstbildnis" (note in quarterly reports of the Gemäldegalerie; Zentralarchiv SMB, ZA: I/GG 6).
conservation, 1889-02-04 1 hits"Endlich sind 25 Stichproben in verschiedenen Bestandtheilen der Sammlung vorgenommen, und ist deren ordnungsgemäßer Zustand festgestellt worden: …14) Rembrandt, No 810. 1888 gereinigt u. kleine Retuschen hergestellt" (note in protocol of the revision of the Gemäldegalerie; Zentralarchiv SMB, ZA: I/GG 6).
research project Burroughs X-ray documentation project, 1925 — 1944 1 hitsinvolved_persons: Alan Burroughs
The Straus Center for Conservation and Technical Studies at the Harvard Art Museums houses the Alan Burroughs Collection of X-Radiographs, the ﬁrst systematic, large-scale X-ray documentation project assembled to address issues of the authenticity and attribution of paintings. Many of the X-rays were produced between 1925 and 1944 by Burroughs—a Harvard graduate (1920) who became a Fogg Museum research fellow and the keeper of X-ray "shadowgraphs". Today the collection contains approximately 8,000 X-radiographs of over 4,450 paintings from the great collections of America and Europe.
The X-rays can also be found in the online database of the Harvard Art Museums: https://www.harvardartmuseums.org/collections?q=Rembrandt+burroughs
exhibition Paintings from the Berlin Museums. Exhibited in Co-operation with the Department of the Army of the United States of America, 1945 — 1948 2 hits
After the Second World War paintings from the collection of the Gemäldegalerie Berlin were temporary stored in the Central Art Collecting Point Wiesbaden, located in Landesmuseum Wiesbaden. From 20 November until 7 December 1945 more than 200 paintings were transported to Washington for an exhibition in the National Gallery of Art in 1948. Some of the paintings made an exhibition tour through the United States ("Paintings from the Berlin Museums. Exhibited in Co-operation with the Department of the Army of the United States of America"). By the end of 1948 (and some in April 1949) the paintings were transported back to Wiesbaden.
inventory, 1950 — 1958 1 hitsinvolved_persons: Dore Barleben
The research was carried out to document the paintings in the Central Collecting Point in Wiesbaden after their return from Washington.
exhibition 120 Beroemde schilderijen uit het Kaiser-Friedrich-Museum te Berlijn, 1950-06 — 1950-09 1 hits
During the exhibition at the Rijksmuseum in Amsterdam x-rays were made of 12 paintings from the Kaiser-Friedrich-Museum in Berlin.
exhibition Meisterwerke aus den Berliner Museen. Europäische Malerei des 17. und 18. Jahrhunderts, 1951-09 — 1952-03 1 hits
involved_persons: Walter Steinkopf
Exhibition "Meisterwerke aus den Berliner Museen. Europäische Malerei des 17. und 18. Jahrhunderts" (Museum Dahlem Berlin, 7 September 1951 – ?? March 1952)
condition check, 1969-11-20 1 hits"Befund (Untersuchung). Eichenholz, senkrecht gemasert, unparkettiert. Unregelmäßige Fase links, oben und rechts, unten nicht. Oben wohl originaler Rand, rechts und links bestossen, unten vielleicht beschnitten. Zustand im ganzen gut, wenngleich mit sehr vergilbtem Firnis. Eine Reihe von Fehlstellen, die retuschiert sind und sich weniger in der Farbe als in der Oberfläche verändert haben. Eine große Fehlstelle in der rechten unteren Ecke unterhalb der Signatur; einen weitere rechts vom Auge, eine weitere rechts von der Nase. Ganz dünn gemalt; so stehen Haare und Pelz direkt auf der Grundierung".
conservation, 1981-03-23 1 hitsinvolved_persons: Gerhard Pieh
"Abnahme hartnäckiger Schmutzschichten mit Picture Cleaner, alkalifreier Seife und Terpentin; Firnisregenerierung mit einer schwachen Lösung Terpentin, Äthylglycol und Dammarfirnis. Verschwärzte alte Ölfarbretuschen im Hintergrund, am linken Auge, der rechten Wange und unterhalb des Mundes die unangenehm „herausfielen“ wurden mit Harzfarben leicht überretuschiert" (note Gerhard Pieh on conservation card).
research project Neutron Autoradiography, 1983 — 2015 2 hitsinvolved_persons: Jan Kelch; Carl-Otto Fischer; Wolfgang Leuther; Klaus Slusallek; Claudia Laurenze-Landsberg; Brigit Schröder-Smeibidl; Andrea Denker
Thanks to the collaboration of nearly three decades with the Helmholtz-Zentrum Berlin, the Berlin Gemäldegalerie is the only museum in the world able to make consistent and systematic use of neutron-activation autoradiography (NAAR) and gamma-ray spectroscopy in the examination of paintings. Neutron-induced autoradiography is an exceptionally versatile and successful method to examine paintings in a nondestructive manner. It provides insight into the pigments used, the brushwork, the state of preservation of the various layers of paint, and the many stages that went into creating the work. In combination with other technical examination methods, NAAR presents us with a special opportunity to take a detailed look at a painter’s creative process. The long-term project between the two institutions aims to scientifically reassess paintings.
exhibition Rembrandt : the master & his workshop, 1991 1 hits
involved_persons: Gerald Schulz
During the preparation for the exibition "Rembrandt, Der Meister und seine Werkstatt" (Berlin, Amsterdam, London) Gerald Schulz made new photos and x-rays of several paintings by Rembrandt.
conservation, 1992-03-10 1 hitsinvolved_persons: Beatrix Graf
"Nach dem Ausrahmen zeichneten sich auf dem Bild, das sehr überrahmt ist, die Auflageflächen auf dem Rahmenfilz matt ab. Unter dem Mikroskop ist eine stark zu Inseln ‚zusammengekrochene’ Firnisschicht sichtbar. Auflageflächen auf dem Rahmenfilz zeichnen sich matt ab. Ränder mit Terpentinöl abgerieben und mit Dammarfirnis betupft (Fotoauftrag)" (note Beatrix Graf on conservation card).
research project Rembrandt in change of perspective: an interdisciplinary approach. New art technological and art historical analyses of Rembrandt paintings from the Gemäldegalerie., 2011 — 2016 10 hitsinvolved_persons: Claudia Laurenze-Landsberg; Katja Kleinert
The Gemäldegalerie presides over one of the most comprehensive collections of Rembrandt paintings in the world. These paintings are part of a long-term interdisciplinary research project, made possible by the generous support of the Andrew W. Mellon Foundation and the Staatliche Museen zu Berlin.
The aim of this research project is to conduct for the first time in-depth analysis by comparing data of technical research (in particular neutron-activation autoradiography) with art-historical findings. The core of these examinations consists of an integrated study on provenance, exhibition history and restoration history on the one hand, and new analyses of the painting techniques on the other. By linking material-technical and art-historical facets, the findings can be embedded in their original iconographic and cultural-historical context. The project will focus on new insights relating to the genesis of the paintings, the development of subjects and motifs, as well as Rembrandt’s artistic and painterly technique. By combining technical and art-historical research within an interdisciplinary team the project will achieve innovative results that are beyond previous research.
All relevant information covered in the project will subsequently be made accessible to the public as part of the online Rembrandt Database.

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Creation date: 2000-03-20; Last modified date: 2022-05-17

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