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Rembrandt and studio of Rembrandt

Portrait of a woman, 1633 gedateerd
New York City, The Metropolitan Museum of Art, [..]
Bredius 1935, no. 335
<a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> and studio of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a>
Illustration number 1001218573
Dimensions: 481x650 pixels
License under PUB DOM
<a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> and studio of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a>
Illustration number 0000071329
Dimensions: 650x568 pixels
License undetermined
<a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> and studio of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a>
Illustration number 0000128163
Dimensions: 1860x2448 pixels
License undetermined
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Object information
Object category
painting
Physical connection
Reference in ‘composite artworks’: artworks that are/were connected, such as alterpieces, decorative pieces incorporated in panelling, and works of art that were intended to be displayed together, such as pendants and series.

pendant

This painting has erroneously been considered as a companion piece of "Portrait of a man" from 1662, also in The Metropolitan Museum of Art (RKD Images no. 229391) (Liedtke 2007, no. 145).
Support/medium
panel (oak)
Shape/dimensions
upright oval 67.9 x 50.2 cm
According to the authors of the Corpus of Rembrandt Paitings it is uncertain whether the panel was originally oval or rectangular (Corpus of Rembrandt Paintings 1982-2015, vol. 2 (1986), no. A83). Von Sonnenburg notes that brushstrokes in the priming layer of paint follow the curved edge of the panel to the upper left, suggesting that the oval format is original (Von Sonnenburg/Liedtke 1995, vol. 1, p. 88). Therefore Liedtke considers it quite unlikely that the panel has been altered in shape (Liedtke 2007, no. 145).
Signature/inscription
Information about the signature, dating, inscription or any other mark on the front or back of the art work
  • with signature and date lower left: Rembrandt f (followed by three dots arranged in a triangular pattern) / . 1633
    MET - The collection online; Liedtke 2007, no. 145: The members of the Rembrandt Research Project (Corpus of Rembrandt Paintings 1982-2015, vol. 2 (1986), no. A83) question the authenticity of the inscription, but note that, although hesitant, it is so similar to genuine Rembrandt signatures that it may have been copied from a pendant, now lost. However, it is far from certain that Rembrandt did not sign and date the work himself. Comparison with similar Rembrandt portraits also suggests that it may have been painted without an intended companion.
Current attribution
Rembrandt
and studio of Rembrandt
In the art-historical literature the attribution to Rembrandt was often doubted (Gerson 1968, no. 123; Tumpel 1986, no. A 105; Von Sonnenburg/Liedtke 1995, vol. 1, no. 5). The members of the Rembrandt Research Project regard the present painting as an autograph Rembrandt. The application of paint shows at the surface and in the X-ray sufficient similarity with Rembrandt's way of working for it to be attributed to him (Corpus of Rembrandt Paintings 1982-2015, vol. 2 (1986), no. A83). According to Liedtke the present painting is entirely or essentially by Rembrandt, though the black costume and perhaps even the ruff and cap are possibly by a collaborator (Liedtke 2007, no. 145).
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.
1633 (dated) (1633)
Artistically related
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

    Lawrence Fine Art of Crewkerne, 1986-10-30. no. 134, as by a pupil of Rembrandt

    MET - The collection online: The catalogue for this sale states that the original portrait by Rembrandt was previously at Althorp (published in "Catalogue of the Pictures at Althorp House," 1831, no. 300). It is unclear whether the author of the sale catalogue identifies the MMA work with the Althorp portrait.

Provenance
Exhibitions and literature
Visual documentation
Technical documentation
The RKD manages a collection of technical documentation that has been given to us by external researchers and museums or which stems from the RKD's own research with infrared reflectography. Documentation can be accessed by appointment at the RKD. While not all technical documentation has been entered in the database at present, new data is added on a regular basis.
Creation date: 2000-10-13; Last modified date: 2022-07-08

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