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Rembrandt

Saul en David (1 Samuel 18:9-11), ca. 1651-1654 en ca. 1655-1658
The Hague, Koninklijk Kabinet van Schilderijen [..]
<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> <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>
herkomst
verblijfplaats
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Object gegevens
Objectcategorie
schilderij
Drager/materiaal
doek, olieverf
During the most recent restoration it became clear that the current painting consists of fifteen pieces of canvas. At some point in the past the figures of Saul and David were separated and later rejoined. A large piece of canvas was added above the head of David, which came from an older painting, identified as a copy after Anthony van Dyck’s Portrait of Isabella Clara Eugenia, Infanta of Spain. On the edges smaller strips of canvas were added (Gordenker/Noble 2013; Mauritshuis 2015, Format).
Vorm/maten
liggende rechthoek 130 x 164,5 cm
Based on the dimensions mentioned in a sale catalog of 1830 it was thought that 15-20 cm was missing of the original width of the work, mainly in between the figures of Saul and David. After restoration this proved to be much less (2-5 cm), concluded after analyzing and reconstructing the brushstrokes in this area. Furthermore, c. 10 cm at the bottom and a few centimeters at the left are missing of the original canvas (Mauritshuis 2015, Format).
Signatuur/opschrift
Informatie over de signatuur, datering, opschrift of merk op de voor- of achterzijde van het kunstwerk
Huidige toeschrijving
Rembrandt
Verworpen toeschrijving
school van Rembrandt
Willem Drost
Karel van der Pluym
There had been no doubts about the attribution of the painting until Gerson rejected the painting as an autograph Rembrandt (Bredius/Gerson 1969, no. 526). This rejection was soon criticized by Rosenberg (Rosenberg 1973, p. 109). Stylistic inconsistencies - mainly to do with the handling of the paint - convinced several scholars that the work could not have been painted by Rembrandt, and it was variously attributed to Karel van der Pluym (Adams 1984), an unidentified pupil of Rembrandt (Tümpel 1986, no. 420) and Willem Drost (Broos 1993, p. 288). This last attribution was rejected by Jonathan Bikker (Bikker 2005, no. R2). In 1978 the idea that these inconsistencies could be explained by the fact that Rembrandt painted the work in two phases was proposed (De Vries 1978). For a long time, the work was attributed to Rembrandt and/or workshop by the Mauritshuis. Currently, following eight years of research, the work is fully accepted as an autograph Rembrandt (painted in two phases) by the Mauritshuis and in the latest volume of the Corpus (Mauritshuis 2015, Attribution; Corpus of Rembrandt Paintings 1982-2015, vol. 6 (2015), no. 212).
Datering
Exacte of globale datering van het kunstwerk; de zoekmarges van het werk in deze database staan tussen haakjes.
ca. 1651-1654 en ca. 1655-1658 (1650 - 1670)
In 1978 De Vries proposed the idea that the work was entirely by Rembrandt but created in two phases, which could explain stylistic inconsistencies (De Vries 1978, no. 11). He suggested a date of mid-1650s for the first phase, and the mid-1660s for the second. In the last volume of the Corpus c. 1642 and c. 1652 are proposed for the two phases (Corpus of Rembrandt Paintings 1982-2015, vol. 6 (2015), no. 212). The Mauritshuis suggests the early 1650s (c. 1651-1654) for the first phase, including the figure of David, and mid-1650s (c. 1655-1658) for the second phase, including the figure of Saul (Mauritshuis 2015; Attribution).
Artistiek verband
Artistiek verband met ander werk
Zoals een voorbereidende tekening, vergelijkbare compositie, andere versie, herhaling of kopie van het hier beschreven kunstwerk.
Herkomst
Tentoonstellingen en literatuur
Beelddocumentatie
Technische documentatie
Het RKD beheert een collectie technische documentatie die door externe onderzoekers en musea aan ons is overgedragen of voortkomt uit eigen onderzoek met infraroodreflectografie. Het materiaal waarvan hier de metadata zijn weergegeven, is op afspraak te raadplegen op het RKD. Vooralsnog is niet alle technische documentatie ingevoerd in de database. Regelmatig worden nieuwe gegevens toegevoegd.
Ingevoerd op: 1996-05-15; Laatste wijziging: 2018-05-22

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