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studio of Rembrandt

Joseph accused by Potiphar's wife, 1655 gedateerd
Washington (D.C.), National Gallery of Art [..]
Bredius 1935, no. 523
studio of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a>
Illustration number 1001197545
Dimensions: 597x650 pixels
License under PUB DOM
studio of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a>
Illustration number 0000090654
Dimensions: 650x568 pixels
License undetermined
studio of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a>
Illustration number 0000090702
Dimensions: 650x568 pixels
License undetermined
studio of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a>
Illustration number 0000090696
Dimensions: 650x568 pixels
License undetermined
studio of <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a>
Illustration number 0000090697
Dimensions: 650x568 pixels
License undetermined
provenance
whereabouts
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Object information
Object category
painting
Support/medium
canvas, oil paint
The original fabric support, consisting of a large piece (98.8 x 90.6 cm) with strips (6 cm wide) sewn onto the left and bottom edges, was transferred by E. Sivers in Saint Petersburg in 1854 to fabric with an open-weave, gauzelike interleaf (Wheelock, NGA online editions, accessed 2015-03-03).
Shape/dimensions
rectangle (portrait format) 105,7 x 97,8 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 right: Rembrandt. f. 1655
    In the early art-historical literature the date inscribed on the present painting was a matter of great dispute until Bredius dated the painting 1655 in 1935 (Bredius 1935, no. 523; Wheelock, NGA online editions, accessed 2015-03-03).
Current attribution
studio of Rembrandt
Rejected attribution
Rembrandt
This painting was always viewed as an autograph Rembrandt, until doubted by Bauch in 1966, who regarded it as a work by a pupil of Rembrandt (Bauch 1966, no. 33). While Schwartz accepted both versions as by Rembrandt (Schwartz 1984, no. 310), Tümpel removed the Washington painting from Rembrandt's oeuvre (Tümpel 1984, p. 191). In 2015 Wheelock attributed the painting to an anonymous artist of Rembrandt's workshop (Wheelock 2015, NGA online editions, accessed 2015-03-03).
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.
dated 1655 (1655)
This painting is generally dated 1655 (see for instance: Bredius 1935, no. 523; Wheelock, NGA online editions, accessed 2015-03-03).
Artistically related
Artistically related to other work
Such as a preparatory studie, comparable composition, other version, or copy of the artwork in this record.
  • free after
    Rembrandt, Jozef beschuldigd door de vrouw van Potiphar (Genesis 39:16-19)
  • used as model for
    Anoniem
    The recto of a drawing in the Graphische Sammlung in Munich (Benesch 1954-1957, vol. 5, no. 958) displays the figures in accordance with the scene in the Washington painting; the verso contains a sketch of only the woman. Benesch, who considered both the Berlin and the Washington painting as autograph works by Rembrandt, believed that the drawing was a preparatory study for the Washington painting and must have played a a role in the genesis of the Berlin version because of a change in the composition of the legs of the woman. The members of the Rembrandt Research Project have their doubts about this interpretation (Corpus of Rembrandt paintings vol. 5 (2011), no. V 23; Wheelock 2015, NGA online editions, accessed 2015-03-03).

  • copied in print by
    Charles Exshaw
    The etching by Charles Exshaw shows the painting in reverse, freely interpreted.

    H. Potterton, "Charles Exshaw, commonplace practitioner in painting and in etching", The Connoisseur 187 (December 1974), p. 273

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: 2002-06-11; Last modified date: 2021-07-05

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