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Rembrandt

Minerva in her study, ca.1631
Berlin, Gemäldegalerie (Staatliche Museen zu [..]
<a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a>
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Object information
Object category
painting
Support/medium
panel (oak), oil paint
Shape/dimensions
rectangle (portrait format) 60,5 x 49 cm
Signature/inscription
Information about the signature, dating, inscription or any other mark on the front or back of the art work
  • After the restoration of 1879 it was reported that remnants of a monogram were distinguishable ("Bei der Reinigung des Bildes zeigte sich unter einer alten Retouche auch der Rest der Bezeichnung, ein R, welches muthmaßlich früher das bekannte Monogramm bildete" (Bode 1881, p. 65); also refer to Bode 1880, p.21). This observation was also included on the zincography and is mentioned in the inventories and catalogues of the Gemäldegalerie until 1968. Under the microscope, however, nowadays no evidence of a signature can be found in the specified area.
  • number lower right: II8
    In light yellow paint with large white pigment particles; the craquelure of the number corresponds to that of its surroundings, which is a later overpainting. According to Dr. Michaelis, Gemäldegalerie (oral communication): "This nr. II 8 does not correspond to any inventory number up to and including the inventory of the Stadhouderlijk Kwartier in The Hague of 1632 (here Nr. 51)").
  • number lower left: N 17
    Remnants of a number which can no longer be deciphered, but which may possibly read "N 17".
  • seal on the back: Koenigliche Museen Berlin
    Red seal with the Prussian eagle and the inscription "Koenigliche Museen Berlin" (in use since the establishment of the royal museums in 1877, probably until nationalisation in 1918).
  • label on the back: Staatliche Museen Berlin – Gemäldegalerie/Inv.-Nr. I / 1472/Kat.Nr.: 828 C/Minerva
    pre-printed paper label, numbers and title handwritten in ink
  • label on the back: Staatliche Museen Berlin/Gemäldegalerie Kat.Nr.: 828 C/Rembrandt/Minerva
    pre-printed paper label, numbers and title handwritten in ink
  • label on the back: Staatliche Museen Preußischer Kulturbesitz/Gemäldegalerie Berlin/Kat. Nr. 828 C/ Rembrandt Harmensz van Rijn/Minerva/um 1631
    blank form and typewriter
  • label on the back: S.L. No. M-92/The Metropolitan Museum of Art, Loan Exhibition
    pre-printed paper label and typewriter
  • label on the back: 728
    small rectangular white yellowed paper label, handwriting in red
  • punch on the back: NL 340
Current attribution
Rembrandt
Rejected attribution
Jan Lievens
Probably the painting is identical with an item in the 1632 inventory of stadholder Frederik Hendrik, described as a work by Jan Lievens. Börsch-Supan sticked to the attribution to Jan Lievens on stylistic grounds (Börsch-Supan 1967, p. 174).
Ferdinand Bol
Gustav Waagen catalogued the painting as a work by Ferdinand Bol in his Verzeichnis der Gemälde-Sammlung des Königlichen Museums zu Berlin of 1830 (Waagen 1833). This attribution was accepted in all the catalogues of the museum untill 1860. Wilhelm Bode rejected this attribution after a restoration of the painting and attributed the painting to Rembrandt (Bode 1881).
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.1631 (1630 - 1632)
Artistically related
Artistically related to other work
Such as a preparatory studie, comparable composition, other version, or copy of the artwork in this record.
Provenance
Exhibitions and literature
Visual documentation
Entered on: 2003-01-06; Last modification: 2017-09-19

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