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Rembrandt

Self Portrait as Zeuxis, ca. 1662-1663
Cologne, Wallraf-Richartz-Museum & Fondation [..]
provenance
whereabouts
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Object information
Object category
painting
Support/medium
canvas, oil paint
The upper corners of the canvas were at some point in time removed and were later replaced(Bredius/Gerson 1969, no. 61; Schaefer/Pilz/Von Saint-George 2011, p. 285-323).
Shape/dimensions
rectangle (portrait format) 82,5 x 65 cm
Blankert has suggested that the painting was originally much larger, largely based on a painting with the same subject by Arent de Gelder [RKD Images no. 3715] (Blankert 1973, p. 32-39). This idea was rejected by the RRP. They stated that "no more than about 10 cm can be missing on either side". The image of the woman would have been shown more completely, but the painting would not have approached the dimensions of the painting by Arent de Gelder (Corpus of Rembrandt paintings 1982-2015, vol. 4 (2005), no. IV 25). Based on the cusping of the canvas, Schaefer, Pilz and Von Saint-George argued that the painting could originally have measured 100 x 69 cm minimally to 119 x 85 cm maximally (Schaefer/Pilz/Von Saint-George 2011, p. 285-323).
Signature/inscription
Information about the signature, dating, inscription or any other mark on the front or back of the art work
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.
c. 1662-1663 (1660 - 1669)
In the art-historical literature, the painting is dated variously but always in the 1660s. Most earlier authors date the painting to the late 1660s (see for instance: Eisler 1927, p. 102; Wright 1982, p. 45, no. 59; Tümpel 1986, no. 177; Slatkes 1992, no. 269; Vergara/Posada/Westermann 2008, no. 40). In most cases this is probably based on the idea that the painting refers to Rembrandts mortality, "his awareness of his approaching end" (Schwartz 1984, ill. 424; Corpus of Rembrandt paintings 1982-2015, vol. 4 (2005), no. IV 25). Based on stylistic grounds others date the painting to the early 1660s (see for instance: Amsterdam 1932 (Rembrandt), no. 38; Erpel 1967, no. 106; Weststeijn 2008, ill. 88). Nowadays the painting is generally dated c. 1662 or c. 1663 (Corpus of Rembrandt paintings 1982-2015, vol. 4 (2005), no. IV 25; Bikker/Schapelhouman/Krekeler 2014, cat. no. 20, online supplement p. 17; Corpus of Rembrandt paintings 1982-2015, vol. 6 (2015), no. 302).
Represented
IB number
Number related to the portrait iconography collection RKD.
32411
Identification based on
resemblance
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
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.
Entered on: 2000-03-28; Last modification: 2018-08-01

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