studio of Rembrandt or Rembrandt and studio of Rembrandt

studio of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> or <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 0000374244
Dimensions: 599x780 pixels
License undetermined

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Object information

Object category: painting
Support/medium: canvas, oil paint
Shape/dimensions: rectangle (portrait format) 93 x 72 cm

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 center: Rembrandt f 1658
Both signature and date are not considered to be authentic by most art historians (Bredius/Gerson 1969, no. 593; Kelch/Van de Wetering 2006, no. 67).

Current attribution: studio of Rembrandt
: or Rembrandt
: and studio of Rembrandt
Already in the earlier art historical literature doubts were raised about the attribution of this painting to Rembrandt. Some authors detected Rembrandt's authorship in the underpainting, but most of them agreed that the paint surface was done by someone from his workshop (Bauch 1966, no. 90; Bredius/Gerson 1969, no. 593). Benesch suggested that Barent Fabritius could have been the creator of this painting (Benesch 1955, p. 402). Although some art historians remained convinced about the attribution to Rembrandt (Van Schendel 1956, no. 77; Rosenberg 1956A, p. 388), most of them consider the painting to be a workshop product (Sumowski 1983-1994, vol. 4 (1989), no. 1922, p. 2945; Kelch/Van de Wetering 2006, no. 67). In the collection catalogue of the Hessisches Landesmuseum of 2015 the painting is listed as Rembrandt and his workshop (Fichtner/Petersen 2015, p. 148).

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. 1658 (1650 - 1660)

The painting is dated 1658. This date has also been read as 1668 (see for instance: Hofstede de Groot 1907-1928, vol. 6 (1914), no. 124). Although signature and date are not considered to be authentic by most art historians, the painting is usually dated around 1658 (see for instance: Bauch 1966, no. 90). In the exhibition catalogue of 2006 the painting is dated slightly earlier, to 1650/1655 (Kelch/Van de Wetering 2006, no. 67).

Subject

Title Title of the art-work in Dutch: Christus aan de geselpaal
English title: Christ at the column
Genre: undetermined
Keywords: history (genre), New Testament and Apocrypha, Christ, whipping post
Iconclass code Iconclass codes and text contain specific scenes and names. An Iconclass code or notation is a code from the multi-lingual Iconclass system for subject retrieval. For more information about this system, see www.iconclass.nl.: 73D351
flagellation by soldiers, Christ usually tied to a column (Matthew 27:26; Mark 15:15; John 19:1)

Provenance

Collection(s)

private collection L. van Heythuysen, Nederland
1800 - Hofstede de Groot 1907-1928, vol. 6 (1914), no.124
Private collection
The painting was sold at the auction of February 23, 1802. The former owners of the paintings in this auction were William Beckford, Benjamin West and Henry Tresham. According to the Getty Provenance Index the Darmstadt painting was bought in by Tresham. This makes it probable that the painting was his (Getty Provenance Index Databases, no. Br-80).
- 1802-02-23 date of auction
Private collection
bookseller Winter, Heidelberg (Back 1914, p. 134-135)
art dealer
Schmitt, Heidelberg (Back 1914, p. 134-135)
- 1842
Hessisches Landesmuseum (Darmstadt), Darmstadt , inv./cat.nr GK 251
1842 - Bought from the art dealer Schmitt in Heidelberg in 1842 (Back 1914, p. 134-135)

Auction(s)

Christie's, Londen (Engeland), 1802-02-23, lotnr. 71
Name buyer : who was probably the owner of the painting (Getty Provenance Index Databases, no. Br-80) probably misspelled in the art historical literature as Fresham (Hofstede de Groot 1907-1928, vol. 6 (1914), no. 124; Sumowski 1983-1994, vol. 4 (1989), no. 1922, p. 2945 bought in by Henry Tresham, 60.18

according to an annotation in a copy of the sale catalogue (Rijksmuseum Amsterdam), Lugt no. 6367: "The Flagellation of our Saviour. This Artist, who could so dispose his Light and Shade, as to illumine what was grand, and conceal what might be displeasing, has here displayed the Magic of his Art, with singular Effect: Truly Capital"
Winter, Hendrik de (Amsterdam (city)) 1764-03-20 - 1764-04, lotnr. 5

, possibly part of this auction (Hofstede de Groot 1907-1928, vol. 6 (1914), no. 124; Van Schendel 1956, no. 77); Lugt no. 1362

Exhibitions and literature

Exhibitions

De Rembrandt tentoonstelling te Amsterdam Stedelijk Museum Amsterdam , Amsterdam (city) , 1898-09 - 1898-11 , no. 122
Rembrandt und seine Zeit : zweihundert Gemälde der Blütezeit der holländischen Barockmalerei des 17. Jahrhunderts aus deutschem, holländischem und schweizerischem Museums- und Privatbesitz Museum zu Allerheiligen , Schaffhausen (place) , 1949-04-10 - 1949-10-02 , no. 138
Rembrandt : tentoonstelling ter herdenking van de geboorte van Rembrandt op 15 juli 1606 Rijksmuseum Amsterdam , Amsterdam (city) , 1956-05-18 - 1956-08-05 , no.77
Rembrandt Tentoonstelling (tekeningen) (Boymans van Beuningen): Ter herdenking van de geboorte van Rembrandt op 15 juli 1606 Museum Boijmans Van Beuningen , Rotterdam (city) , 1956-05-18 - 1956-08-05 , no. 77
Rembrandt : zoektocht van een genie Museum Het Rembrandthuis , Amsterdam (city) , 2006-04-01 - 2006-07-02 , no. 67
Rembrandt : Genie auf der Suche Gemäldegalerie (Staatliche Museen zu Berlin) , Berlin , 2006-08-04 - 2006-11-05 , no. 67

Literature

Vosmaer 1877 , p. 371
Bode/Hofstede de Groot 1897-1905 , no. 534
Hofstede de Groot 1898 , no. 122
Valentiner 1907B , p. 250-254
Rosenberg/Valentiner 1909 , p. 471
Back 1914 , p. 134-135
Hofstede de Groot 1907-1928 (German edition) , vol. 6 (1915), no. 124
Lilienfeld 1914 , p. 61
Valentiner 1921 , p. 128
Bredius 1935 , no. 593
Hamann 1948 , p. 373
Schaffhausen 1949 , no. 138
Porkay 1951 , no. IX
Benesch 1955 , p. 402
Benesch 1954-1957 , vol. 2, p. 78, under no. 311
Knuttel 1956 , p. 196, 266
Rosenberg 1956A , p. 388
Van Schendel 1956 , no. 77
Van Regteren Altena 1958 , p. 32, under no. 67
Bauch 1966 , no. 90
Bott 1968 , no. 42
Musper 1968 , p. 235
Bredius/Gerson 1969 , no. 593
Benesch 1970 , vol. 1, p. 188
Schatborn 1985 , p. 66
Sumowski 1983-1994 , vol. 4 (1989), no. 1922, p. 2945
Ebert-Schifferer 1996 , p. 77
Kelch/Van de Wetering 2006 , no. 67
Fichtner/Petersen 2015 , p. 148

Visual documentation

Visual documentation

Location image Location of the image in the visual documentation.

BD/Digital Collection (img.nr. 0000374244)

Project: The Rembrandt Database
RemBench

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.

2 hits in RKD technical, relating to:

Technical examination type

radiography

Research and restoration projects

exhibition Rembrandt : tentoonstelling ter herdenking van de geboorte van Rembrandt op 15 juli 1606, 1956 1 hits
During the exhibition X-rays were made of a lot of the exhibited paintings at the Rijksmuseum in Amsterdam.

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Creation date: 2013-03-12; Last modified date: 2020-04-23

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studio of Rembrandt or Rembrandt and studio of Rembrandt

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