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Rembrandt

Three musicians, ca. 1624-1625
New York City, The Leiden Collection, [..]
Bredius 1935, no. 421
<a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a>
Illustration number 0001534947
Dimensions: 2134x2578 pixels
License under CC BY-NC-SA by The Leiden Collection (New York)
<a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a>
Illustration number 1001252767
Dimensions: 528x650 pixels
License under PUB DOM
<a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a>
Illustration number 1001215506
Dimensions: 529x650 pixels
License under PUB DOM
<a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a>
Illustration number 0000113385
Dimensions: 1874x2409 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.

part of a series

a series of paintings depicting the five senses (the fifth painting, depicting the allegory of taste is unnaccounted for)
Support/medium
panel (oak)
Baltic oak
Shape/dimensions
rectangle (portrait format) 21,6 x 17,6 cm
The panel was enlarged and overpainted in the eighteenth century, the measurements were 31,6 x 25 cm. (Corpus of Rembrandt Paintings 1982-2015, vol. 1 (1982), no. B 1). During restoration in 1988 the painting was restored to it's original size by Menno Dooijes (Sutton 2002, no. 42).
Signature/inscription
Information about the signature, dating, inscription or any other mark on the front or back of the art work
Current attribution
Rembrandt
Since the discovery of this painting in the early twentieth century there has been a discussion about its attribution. Bloch regarded it as a work by Rembrandt (Bloch 1933, p. 100-101). Rosenberg rejected this attribution stating that the painting is an old copy after Rembrandt (Rosenberg 1956, p. 354), while Bauch proposed an attribution to Dou (Bauch 1960, p. 227-228). In 1982 the RRP listed the painting in the B-category of the Corpus with paintings of which an attribution to Rembrandt cannot be accepted nor rejected (Corpus of Rembrandt Paintings 1982-2015, vol. 1 (1982), no. B 1). Tümpel regarded it as a work by an early follower of Rembrandt (Tümpel 1986, no. A 27). Since the restoration of the painting in 1988, removing the eighteenth century additions and overpainting, most art historians agree on an attribution to Rembrandt (see for instance: Sutton 2002, no. 42; Van Straten/Moerman 2005, p. 30; Weller et al. 2011, no. 1; Corpus of Rembrandt Paintings 1982-2015, vol. 6 (2015), no. 2).
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.
c. 1624-1625 (1624 - 1625)
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: 2005-02-02; Last modified date: 2021-12-06

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