Rembrandt of atelier van Rembrandt

<a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a> of atelier van <a class="recordlink artists" href="/explore/artists/66219" title="Rembrandt"><span class="text">Rembrandt</span></a>

Afbeeldingsnummer 0001526331
Afmetingen: 6222x7626 pixels
Licentie onder CC BY-NC-SA door copyright: Gemäldegalerie Alte Meister (Museumslandschaft Hessen Kassel)

Afbeeldingsnummer 1001197556
Afmetingen: 547x650 pixels
Licentie onder PUB DOM

Afbeeldingsnummer IB00038533
Afmetingen: 1847x2253 pixels
License undetermined

Afbeeldingsnummer 0000063086
Afmetingen: 650x568 pixels
License undetermined

Afbeeldingsnummer 0000063045
Afmetingen: 650x568 pixels
License undetermined

Verder zoeken in RKDimages

Object gegevens

Objectcategorie: schilderij
Drager/materiaal: paneel (mahonie), olieverf
Vorm/maten: achthoekig 80.5 x 66 cm
The painting originally consisted of an oval field inside a painted octagonal surround (Corpus of Rembrandt paintings 1982-, no. II A97).

Signatuur/opschrift Informatie over de signatuur, datering, opschrift of merk op de voor- of achterzijde van het kunstwerk

draagt signatuur en datum rechtsmidden: Rembrandt : f 1634.
The signature and date are, in the form they have now, not authentic on an overpainted part of the background, though they may well replace an autograph inscription (Corpus of Rembrandt paintings 1982-2015, no. II A 97; Eissenhauer 2006, p. 156).

Huidige toeschrijving: Rembrandt
: of atelier van Rembrandt
In the art historical literature the attribution to Rembrandt has been doubted several times. In 1923 Van Dyke suggested that it was painted in the studio of Rembrandt (Van Dyke 1923, p. 40). According to Gerson an attribution to Govert Flinck should be considered (Bredius/Gerson 1969, no. 164). In 1986 Tümpel attributed the painting to a pupil of Rembrandt (Tümpel 1986, no. A 66) and again an association with Govert Flinck was made bij Grimm in 1991 (Grimm 1991, p. 101). After a study of the style and quality of the painting Van de Wetering came to a seriously doubt of the autograph nature of the work. He attributed the painting to Rembrandt's wokshop (Corpus of Rembrandt Paintings 1982-, vol. 4 (2005), p. 216-217). The museum, in which collection the painting is, holds on to an attribution to Rembrandt (Schnackenburg 1996) or does not rule out the atribution to Rembrandt (Eissenhauer 2006).

Datering Exacte of globale datering van het kunstwerk; de zoekmarges van het werk in deze database staan tussen haakjes.: 1634 (1634)

The date 1634 is unauthentic, though it may well replace an autograph inscription; a date in 1634 is acceptable on the basis of the authentic parts still visible (Corpus of Rembrandt paintings 1982-, no. II A97).

Onderwerp

Titel Titel of de benaming van het kunstwerk. Deze kan verschillen van de titel die in (recente) publicaties wordt gegeven.: Zelfportret met helm
Engelse titel: Self portrait with helmet
Genre: portret
Onderwerpstrefwoorden: portret, mansportret, zelfportret, borststuk, hoofd naar rechts, lichaam naar rechts, aanziend, snor, vliegje (sik), oorring, halsberg, helm met pluim(en), mantel

Voorgestelden

IB nummer Nummer gerelateerd aan de collectie portret-iconografie RKD.: 38533

Rembrandt van Rijn 1606-07-15 - 1669-10-04

Naam

Rijn, Rembrandt van

Geslacht

Geboren

Leiden (stad) 1606-07-15

Overleden

Amsterdam (stad) 1669-10-04

Functie

Kunstschilder te Leiden en Amsterdam.

Gehuwd met

Sint Annaparochie 1634-06-27
Saskia van Uylenburgh

Identificatie gebaseerd op: resemblance

Artistiek verband

Artistiek verband met ander werk Zoals een voorbereidende tekening, vergelijkbare compositie, andere versie, herhaling of kopie van het hier beschreven kunstwerk.

vrij als voorbeeld gebruikt voor
Johann Heinrich Tischbein (I), Mars in wapenrusting

Herkomst

Collectie(s)

private collection Gerard Goeree, Delft
- 1728
private collection Valerius Röver (jr.), Delft
In Röver's catalogue, written by himself in 1730, the painting is described under the year 1728, no. 83, as: "het portret van Rembrandt zelfs met een stormhoed, Ao. 1634 geschildert, toen hij 28 jaaren oud was - f 90: - gekogt van Gerard Goeree te Delft" (catalogue published in Moes 1913).
1728 - 1739
private collection Cornelia Röver-Van der Dussen, Delft
by descent from her husband Valerius Röver jr.
1739 - 1750 In 1750 the collection of Valerius Röver jr. was sold to Landgraf Wilhelm VIII von Hessen-Kassel (for 40000 guilders; Hoet 1752, vol. 2, p. 393: " Het Pourtrait van Rembrant met een Stormhoet op het Hoofd, door hem zelfs geschildert, achtkant, h. 2 v. 7 en een half d., br. 2 v. 2 d.").
private collection Wilhelm VIII von Hessen-Kassel (Landgraf), Kassel (Hessen) , inv./cat.nr 558 (Haupt-Catalogus, begun in 1749)
Described in the Haupt-Catalogus as: "558. Rembrant, Ein 8 eckigt Brustbild mit einem Casquet. Höhe 2 Schuh 7 Zoll Breite 2 Schuh 1 Zoll (Rhineland feet) [= 80.6 x 65.4 cm]" (Eissenhauer 2006, no. 18). From 1749 to 1751, a gallery for the old masters collection was built behind the Landgrave’s palace between the Auehang and the Frankfurter Straße in Kassel. During the Napoleonic Wars (1803-1815) paintings from the Electoral Collection were confiscated for the Musée Napoléon in Paris. Between 8 and 16 January 1807 "Self portrait with helmet" was taken by Vivant Denon, the first director of the museum. By the end of the war in 1815 the self-portrait was restituted to Kassel (Eisenmann 1888, no. 215; recorded in the catalogue of the Musée Napléon 1807, no. 529, published in Savoy 2011). In 1877 the collection was relocated to the newly built structure on the Schöne Aussicht, where they remained until the outbreak of the Second World War. Most paintings were kept in storage in the Reichsbahnbunker from 1939 to 1945. Since 1976, they have been shown on levels one to three of Palace Wilhelmshöhe.
1750 -
Gemäldegalerie Alte Meister (Museumslandschaft Hessen Kassel), Kassel (Hessen) , inv./cat.nr GK 237

Tentoonstellingen en literatuur

Tentoonstellingen

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 , cat. no. 123
Drie eeuwen portret in Nederland Rijksmuseum Amsterdam , Amsterdam (city) , 1952-06-29 - 1952-10-05 , cat. no. 140
Gemälde der Kasseler Galerie kehren zurück Hessisches Landesmuseum Kassel , Kassel (Hessen) , 1956-03-18 - 1956-09-30
Rembrandt by himself National Gallery [London] , London (England) , 1999-06-09 - 1999-09-05 , cat. no. 40
Rembrandt zelf Koninklijk Kabinet van Schilderijen Mauritshuis , The Hague (city) , 1999-09-25 - 2000-01-09 , cat. no. 40
Rembrandt Rembrandt [Frankfurt, 2003] Städelsches Kunstinstitut Frankfurt am Main , Frankfurt am Main , 2003-02-01 - 2003-05-11 , cat. no. 21
34 Gemälde "Rembrandts" in Kassel! : die historische Sammlung von Landgraf Wilhelm VIII Gemäldegalerie Alte Meister/Schloß Staatliche Museen Kassel , Kassel (Hessen) , 2006-05-20 - 2006-08-20 , cat. no. 18

Literatuur

Hoet 1752 , vol. 2, p. 393
Causid 1783 , p. 118, no. 101
Vosmaer 1877 , p. 148, 504
Bode 1883 , p. 410-411, 565, no. 60
Dutuit 1885 , p. 27
Von Wurzbach 1886 , no. 51
Eisenmann 1888 , no. 215
Michel 1893 , p. 215, 552
Eisenmann 1894 , no. 237
Moes 1897-1905 , vol. 2, no. 6693.24
Bode/Hofstede de Groot 1897-1905 , vol. 3 (1899), no. 169
Rosenberg 1904 , p. 75
Rosenberg 1906 , p. 110
Veth 1911 , p. 11
Kassel 1913 , no. 237
Moes 1913 , no. 83 , as appendix the catalogue of Valerius Röver jr. (p. 16-24)
Hofstede de Groot 1907-1927 (English edition) , vol. 6 (1914), no. 534
Van Dyke 1923 , p. 40, fig. 11 , as Rembrandt workshop
Weisbach 1926 , p. 282
Kassel 1929 , no. 237
Benesch 1935 , p. 17
Bredius 1935 , no. 22
Schaffhausen 1949 , no. 123
Amsterdam (Rijksmuseum) 1952 , no. 140
Vogel et al. 1958 , no. 237
Kühn 1965 , p. 193
Bauch 1966 , no. 307
Erpel 1967 , no. 54
Gerson 1968 , no. 157
Bredius/Gerson 1969 , no. 157 , according to Gerson an attribution to Govert Flinck must be considered
Sumowski 1973 , p. 98
Kühn 1976 , p. 23
Wright 1982 , p. 24, fig. 50
Grimm 1982 , p. 243, fig. 4
Sumowski 1983-1994 , vol. 1 (1983), p. 85, 88; vol. 6 (1994), p. 3528
Schwartz 1984 , no. 199
Corpus of Rembrandt Paintings 1982-2015 , vol. 2 (1986), no. A 97 , as by Rembrandt, and in its present state partly overpainted at some later date
Tümpel 1986 , no. A 66 , as by a pupil of Rembrandt
Chapman 1990 , p. 36, 38, 40-41, 147 (note 33), fig. 51
Grimm 1991 , p. 101, fig. 183 , as after Rembrandt (Govert Flinck?)
Slatkes 1992 , no. 247
Schnackenburg 1996 , no. GK 237 , as by Rembrandt
Corpus of Rembrandt Paintings 1982-2015 , vol. 4 (2005), p. 216-217 , as by Rembrandt's workshop
Eissenhauer 2006 , no. 18
Savoy 2011 , no. 529 , with the list of confiscated works of art from German collections by France and with the catalogue of these works in Musée Napoléon on CD ((Statues, bustes, bas-reliefs, bronzes, et autres antiquités, peintures, dessins, et objets curieux : conquis par la Grande Armée, dans les années 1806 et 1807 : dont l'exposition a eu lieu le 14 octobre 1807, premier anniversaire de la bataille d'Jéna, Paris 1807)

Beelddocumentatie

Beelddocumentatie

Standplaats afbeelding Locatie van de afbeelding in de beelddocumentatie.

TD/Digital collection (afb.nr. 0001526331)
BD/Digital Collection (afb.nr. 1001197556)
BD/RKD/1818 - IB/XVIIB op Rijn (afb.nr. IB00038533)
, standplaats origineel BD/RKD/0612 - ONS/Portraits: Rembrandt and School (afb.nr. 0000063086)
, standplaats origineel BD/RKD/0704 - ONS/Artist's Portraits (afb.nr. 0000063045)

Project: The Rembrandt Database
RemBench
Gerson Digital : Duitsland

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.

17 treffers in RKDtechnical, betreffende:

Type technisch onderzoek

sample

schraapsel DI776_K10, 1962 1 treffers
rand van het schilderij (sample from the ground at the bottom edge of the painting)
dates are uncertain
schraapsel DI776_17, 1970 - 1970-01 1 treffers
metaal, textiel, rand van het schilderij (sample from the helmet)
sample was taken in the frame of pigment analysis
schraapsel DI776_18, 1970 - 1970-01 1 treffers
metaal, textiel, rand van het schilderij (sample from the helmet)
sample was taken in the frame of pigment analysis
schraapsel DI776_19, 1970 - 1970-01 1 treffers
metaal, textiel, rand van het schilderij (sample from the helmet)
sample was taken in the frame of pigment analysis
schraapsel DI776_20, 1970 - 1970-01 1 treffers
metaal, textiel, rand van het schilderij (sample from the cloak)
sample was taken in the frame of pigment analysis
schraapsel DI776_21, 1970 - 1970-01 1 treffers
metaal, textiel, rand van het schilderij (ground from the upper edge of the painting)
sample was taken in the frame of pigment analysis

Onderzoeks- en restauratieprojecten

onderzoeksproject Burroughs X-ray documentation project, 1925 — 1944 1 treffersinvolved_persons: Alan Burroughs
The Straus Center for Conservation and Technical Studies at the Harvard Art Museums houses the Alan Burroughs Collection of X-Radiographs, the ﬁrst systematic, large-scale X-ray documentation project assembled to address issues of the authenticity and attribution of paintings. Many of the X-rays were produced between 1925 and 1944 by Burroughs—a Harvard graduate (1920) who became a Fogg Museum research fellow and the keeper of X-ray "shadowgraphs". Today the collection contains approximately 8,000 X-radiographs of over 4,450 paintings from the great collections of America and Europe.
The X-rays can also be found in the online database of the Harvard Art Museums: https://www.harvardartmuseums.org/collections?q=Rembrandt+burroughs
restauratie, 1949-07 2 treffersinvolved_persons: Josef Leiß
restauratie, 1952 1 treffersTreatment of the edges of the painting
wetenschappelijk onderzoek, 1953 1 treffersExamination of the ground layers
restauratie, 1956 1 treffersinvolved_persons: Sylvie von Reden
Treatment of the varnish in preparation for the exhibition "Gemälde der Kasseler Galerie kehren zurück" in the Hessisches Landesmuseum Kassel
studie Rembrandt's grounds and pigments, 1962 — 1976 3 treffersinvolved_persons: Hermann Kühn
The study focused mainly on grounds, and to some extent on paint layers. Samples were taken of 75 panel and canvas paintings attributed to Rembrandt.
Prof. Dr. Hermann Kühn took the samples at the painting's institution with a stereomicroscope after which he analyzed them at the Doerner Institut in Munich.
For more information: Hermann Kühn, Untersuchungen zu den Malgründen Rembrandts, 1965, p. 189-210, in: Jahrbuch der Staatlichen Kunstsammlungen in Baden-Württemberg, vol. 2
For more information: Hermann Kühn, Untersuchungen zu den Pigmenten und Malgründen Rembrandts, durchgeführt an den Gemälden der Staatlichen Kunstsammlungen Kassel, in: Maltechnik Restauro : Internationale Zeitschrift für Farb- und Maltechniken, Restaurierung und Museumsfragen 82 (1976), p. 25-33
onderzoeksproject Rembrandt Research Project, 1968 — 2014 1 treffers
involved_persons: Josua Bruyn; Bob Haak; Simon Levie; Pieter Jacobus Johannes van Thiel; Ernst van de Wetering; Lideke Peese Binkhorst-Hoffscholte; Michiel Franken; Paul Broekhoff; Marieke de Winkel; Jaap van der Veen
The ‘Rembrandt Research Project’ (RRP) began in 1968 with the aim to delimit Rembrandt’s painted oeuvre, by reconsidering the authenticity of the paintings generally attributed to him. RRP sought the cooperation of specialists in other disciplines, such as J. Bauch, D. Eckstein and P. Klein (dendrochronology); K. Groen (analysis of paint samples); W. Froentjes, H. Hardy, R. ter Kuile-Haller (forensic analysis of handwriting).
Depending on the painting, type of questions, circumstances, sources and available assets, a range of examination methods was used for the project, such as X-radiography, infrared photography and -reflectography, dendrochronology, paintings were studied under the microscope, with UV, normal and raking light, and samples were analyzed for instance with FTIR, light micrsoscope, SEM-EDX, XRD and GCMS.
Having opted for a chronological approach to the cataloging of Rembrandt’s paintings in the first three volumes of A Corpus of Rembrandt paintings [vol. 1: 1625-1631 (1982); vol. 2: 1631-1634 (1986); vol. 3: 1635-1642 (1989), from 1993 onwards catalog texts were organized according to subject matter: vol. 4: self-portraits (2005) and vol. 5: small-scale history paintings (2011).
Mr Jacques Vis contributed substantial parts of the text, including the majority of the entry for the Night watch.
restauratie, 1979 1 treffersinvolved_persons: Beatrix Ilg
restauratie, 1999-05 — 2000-01 2 treffersinvolved_persons: Jutta Michels
Returned in good condition from the exhibition "Rembrandt by Himself" in Londen and The Hague
catalogus Rembrandt-Bilder : die historische Sammlung der Kasseler Gemäldegalerie, 2005 — 2006 1 treffers
involved_persons: Hans Brammer; Kerstin Binzer

Externe links: this artwork in the Gemäldegalerie Alte Meister Kassel

Permalink: https://rkd.nl/explore/images/30461

Ingevoerd op: 2000-04-13; Laatste wijziging: 2021-12-14

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