Rembrandt en atelier van Rembrandt

Objectcategorie: schilderij
Drager/materiaal: paneel (eikenhout), olieverf
Vorm/maten: staande rechthoek 56 x 47 cm

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

zegel op de achterzijde: Königliche Museen Berlin
red seal with the Prussian eagle and the inscription "Königliche Museen Berlin" recessed in a drill hole with a diameter of 3.5 cm (in use approx. 1877-1918)
etiket op de achterzijde: N [o] 19./Rembrandt Vanryn/Le portrait de L’auteur
yellowed paper, 5.6 x 8.6 cm, severely torn along the edges as well as on the inside. Quill and black ink handwritten in both Sütterlin and Latin characters
etiket op de achterzijde: Staatliche Museen Berlin – Gemäldegalerie/Inv.-Nr.I/900/Kat.Nr. 808/Selbstbildnis mit Metallkragen
blank form and handwriting in black ink
etiket op de achterzijde: Staatliche Museen Berlin/Gemäldegalerie Kat.Nr. 808/Rembrandt/Selbstbildnis
blank form filled out with typewriter
etiket op de achterzijde: Staatliche Museen Preußischer Kulturbesitz/Gemäldegalerie Berlin/Kat.Nr. 808/Flinck, Govaert/Bildnis Rembrandt
blank form filled out with typewriter, with border and diagonal line
stempelafdruk op de achterzijde: I. 900
inventory number of 1833

Huidige toeschrijving: Rembrandt
: en atelier van Rembrandt
Since the first time the painting was recorded in catalogue of the Gemäldegalerie in 1830, the work has always been accepted as an authentic self-portrait by Rembrandt in the art historical literature (Waagen 1830, no. II/335). In 1986 this attribution was questioned by the Rembrandt Research project. On ground of the free but rather coarse manner of painting, the coulour scheme which is atypical for Rembrandt and the weak execution of the shadow in the upper half of the face they suggest an attribution to an assistant, probably Govaert Flick, who painted it in Rembrandt's workshop in or soon after 1633 (Corpus of Rembrandt Paintings 1983-, vol. 2 (1986), no. C 56). However, this rejection was not generally accepted. Slatkes and Liedtke still regard the painting as an autopgraph work (Slatkes 1992, no. 248; Liedtke 1996, p. 43; Liedtke 2004, p. 65). In 2003 the attribution of the painting was reconsidered by the Rembrandt Research Project. They suggest that the stock of self-portraits that Rembrandt built up in his first Amsterdam years was surplus to requirement. Two of these remainders were transformed into self-portraits of Rembrandt at a later age, two others into tronies. The present painting belongs to this latter category, later altered into the tronie of a "landknecht". According to the RRP it is not entirely clear whether the transformation was effected by Rembrandt himself or by a member of the workshop. Claudia Laurenze-Landsberg and Katja Kleinert (research project Gemäldegalerie Berlin) have suggested that it is highly probable Rembrandt himself had done the initial design for the painting and was reworked by himself or a member of his workshop. They consider it quite probable that the revisions were executed by the same hand or at the very least within the same workshop (Laurenze-Landsberg/Keinert 2014).
Verworpen toeschrijving: mogelijk Govert Flinck
The attribution to Govaert Flick suggested by the members of the Rembrandt Research Project in 1986 has been accepted by the Gemäldegalerie until 1996. In 1999 this attribution was rejected (White e.a. 1999, no. 37).

Datering Exacte of globale datering van het kunstwerk; de zoekmarges van het werk in deze database staan tussen haakjes.: tussen 1633 en 1636 (1632 - 1636)

Because of broad similarities to the self-portraits of 1633 and 1634 the present self-portrait has been created those years (Corpus of Rembrandt Paintings 1983-, vol. 2 (1986), no. C 56). According to Claudia Laurenze-Landsberg and Katja Kleinert (research project Gemäldegalerie Berlin) the painting must have been reworked after 1636. The painting "The standard bearer" (Corpus of Rembrandt Paintings 1982-, vol. 3 (1989), A 120), created by Rembrandt in 1636, has many similarities in motif to the Berlin painting. It is not unlikely that this painting served as a template for the reworking of the Berlin painting. Laurenze-Landsberg and Kleinert also suggest the painting had already been finished in its entirety in 1636. In the same year Govert Flinck painted "A young man with a feathered cap and gorget" (Sumowski 1983-1993, vol. 2 (1984), p. 1031). Flinck was working as a pupil in Rembrandt's workshop at that time and he may have therefore taken the version of the Berlin painting that is now visible as a template or as a source of inspiration for his own painting (Laurenze-Landsberg/Kleinert 2014).

Onderwerp

Titel Titel of de benaming van het kunstwerk. Deze kan verschillen van de titel die in (recente) publicaties wordt gegeven.: Zelfportret met fluwelen baret en gouden ketting
Engelse titel: Self portrait with a velvet beret and gold chain
Genre: portret
Onderwerpstrefwoorden: mansportret, zelfportret, borststuk, hoofd naar rechts, lichaam naar rechts, aanziend, halsberg, baret

IB nummer Nummer gerelateerd aan de collectie portret-iconografie RKD.: 115949

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

Naam

Rijn, Rembrandt van

Geslacht

m

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

als voorbeeld gebruikt voor
Jakob Schlesinger
oil on canvas, 48 x 37 cm, can be dated between 1840- February 1844, until 1891 in picture gallery Sanssouci, from 1929 in collection of Hohenzollern; current location unknown.

One of the five copies Schlesinger made for Friedrich IV, who wanted to recover the original hanging in the picture gallery in Sanssouci Potsdam. The original painting was already in the Königliches Museum zu Berlin.
als voorbeeld gebruikt voor
Anoniem
oil on canvas, 55 x 47 cm, in 1883 in the inventory of Großherzogin Luise von Baden in Schloss Babelsberg (Bartoschek / Vogtherr 2004, p. 391, no. GK I 4681; it is possible this description refers to the other self-portrait in the collection of the Gemäldegalerie (cat. no. 810).
als voorbeeld gebruikt voor
Anoniem
oil on canvas, 55.8 x 46.9 cm, private collection Michael Whitney, New York
in prent gebracht door
Andreas Ludwig Krüger, Rembrandts 'Zelfportret met fluwelen baret en gouden ketting'
in prent gebracht door
William French
steel engraving, circa 1855, with inscription "Museum in Berlin. / Rembrandt pinxt. / W. French sc"

published in: A. Payne, Die Königlichen Museen in Berlin. Eine Auswahl der vorzüglichsten Kunstschätze der Malerei, Sculptur, und Architektur der norddeutschen Metropole, dargestellt in einer Reihe der ausgezeichnetsten Stahlstiche mit erläuterndem Texte, Leipzig / Dresden 1855, p. 159-164
in prent gebracht door
Carl Fischer
lithograph with inscription "Nach d. Original lith. v. C. Fischer" and "Druck b. H. Delius (v. Aumont)" and "Des Künstlers eigenes Bildniss / von / Paul Rembrandt / (Gemäldegallerie des Königl. Museums in Berlin", 260 x 215 mm, The British Museum, inv. no. 1861,0518.1288

Collectie(s)

private collection Johan Hendrik van Wassenaer Obdam, The Hague
Possibly identical with an item in the sale of the collection of Johan Hendrik van Wassenaer Obdam, The Hague, 19 August 1750, no. 2. This painting was bought by Bouwer for Jacques André Joseph Aved. It was, however, not in the Aved sale in Paris (24 November 1766, Lugt 1563). It is remarkable that there is no mention in this description of such a striking feature as the cap.
- 1750 end date is date of sale
private collection Friedrich II von Preußen, Schloss Sanssouci (Potsdam)/ Berliner Stadtschloss/Oranienburg/Honselaarsdijk
In 1764 the painting is recorded in de collection of Sanssouci in Potsdam under no. 144 as: "Das Bildniß des Rembrandtes (Im Kabinette)" (Oesterreich 1764, no. 114) and in 1786 as: "Rembrandts Bildniß, vom ihm selbst" (Nicolai 1786, p. 1210, no. 87). The (inscription of the) print by Andreas Ludwig Kruger confirms that these descriptions refer to the present portrait. The inscription reads: "Rembrandt pinx: Krüger delin.et sculps. 1769. Portrait de Rembrandt peint sur bois lui même, haut 1 pied 9 pouce large 1 p. 5 pouce. Dans le Cabinet de S.M. le Roi de Pruise á Sansoucis". The reconstruction of the original hanging of paintings in the picture gallery of Sanssouci in 1773 also shows that the self-portrait was part of the collection (Potsdam 2013, p. 54-55; written communication Dr. Alexandra Nina Bauer, Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg, 2013).
private collection Friedrich Wilhelm III von Preußen, Berliner Stadtschloss/Charlottenburg (Berlin)/Potsdamer Stadtschloss
Around 1829 de painting is recorded in "Verzeichniss derjenigen Gemälde, welche in Folge der Allerhoechsten Cabinetsorder vom 23. July 1829 aus der Gallerie zu Sanscouci und dem Neuen Palais bey Potsdam der Commission zur Einrichtung des Königl. Museums für dasselbe übergeben werden sollen" as: "Nr. 30 Rembrandt, Dessen eigenes Bildniß" (Zentralarchiv SMB, ZA: I/GG 31) and mentioned in de list of the paintings located in the picture gallery of Sanssouci under no. 287: "Paul Rembrandt, Des Künstlers eigenes Bildniß" (Vogtherr 2005, p. 100).
Gemäldegalerie der Königliche Museen zu Berlin, Berlin , inv./cat.nr Waagen-no. II/335 (catalogue 1830), as Rembrandt; inv. no. I.900 (inventory 1833)
1830 - Transferred in 1830 from the picture gallery of Sanssouci to the Königliche Museen in Berlin. In 1840 the portrait is recorded in "Verzeichnis der Gemälde aus der Koenigl. Gallerie von Sanssouci, welche in Folge der Allerhöchsten Cabinetsordere Snr. Majestät des höchstseeligen Königs Friedrich Wilhelm III. vom 23. Juli 1829 [der?] Ge- mäldegallerie des Königl. Museums einverleibt worden sind" as: "28. Paul Rembrandt das eigene Portrait des Künstlers (Abth. II. No. 335). Einziges von ihm im Museum vorhandenes Portrait, wel- ches ihn diesem Fach in seiner ganzen Stärke zeigt" (Zentralarchiv SMB, SMB-ZA, I/GG 002, p. 13 verso). In 1840 Friedrich IV re-claimed the paintings to restore the original hanging in the picture gallery in Sanssouci Potsdam. After negotiations it was decided that instead of transferring the paintings to Potsdam restorer Johann Jakob Schlesinger would make five copies, including the present self-portrait (Zentralarchiv SMB, SMB-ZA, I/GG 002; Eckardt 1974, p. 294, no. 385; Stehr 2006, p. 97). Until now it is wrongful thought this copy concerns the Berlin self-portrait cat.no. 810 In 1904 the painting was transferred to the Kaiser Friedrich Museum (at present Bodemuseum). In the period from September 1941 – September 1942 the painting, together with other works of art of the Gemäldegalerie, was located in the flak towers of Leitturm Berlin-Friedrichshain. From 11 March - 7 April 1945 the paintings were transported from Berlin to the salt mines of Kaiseroda-Merkers, where the works of art were stored until they were discovered and confiscated by the Americans. On 17 April 1945 they moved the works of art, including the painting, to the Reichsbank in Frankfurt am Main. From 20 August-31 August 1945 the works of art were removed from the Reichsbank and temporary stored in the Central Art Collecting Point Wiesbaden, located in Landesmuseum Wiesbaden (inventory number WIE 307/164/1). On 20 April 1949 the American trusteeship was handed over to the state Hessen. On 11 January 1956 the works of art of the Berlin Gemäldegalerie officially came within the escrow of Berlin and the return of the works of art from Wiesbaden to Berlin began. The collection of paintings was located in the Gemäldegalerie in Dahlem (Berlin West) until 1998.
Gemäldegalerie (Staatliche Museen zu Berlin), Berlin , inv./cat.nr 808
1830 - From 1998 onwards the collection of old master paintings of the Staatliche Museen is located in the Gemäldegalerie at the Kulturforum.

Veiling(en)

Hondt, Peter de (The Hague (city)) 1750-08-19, lotnr. 2
Inbrenger Johan Hendrik van Wassenaer Obdam
Naam koper : Brouwer for Avet , 202 gulden

, Lugt 736: "Rembrandt. Portrait van hem zelve, met een Gouden Ketting om. h. 21½ d., b. 18 ¼ (Rhineland feet) [= 56.1 x 47.6 cm]".

Tentoonstellingen

Rembrandt-Ausstellung [Berlijn, 1930] Akademie der Künste Berlin , Berlin (city) , 1930-02-22 - 1930-04-06 , cat. no. 368
Ausstellung von Werken alter Meister der Malerei und anderer Kunstgebiete = An exhibition of German-owned old masters and other works of art Landesmuseum/Central Collecting Point , Wiesbaden (city) , 1946-02 - 1947 , cat. no. 27
Rembrandt. Bilder, Zeichnungen, Radierungen Landesmuseum Wiesbaden , Wiesbaden (city) , 1948-05-08 - 1948-09-12
Rembrandt : Gedächtnis-Ausstellung 1606-1669 : Gemälde - Zeichnungen - Radierungen Museum Dahlem , Berlin (city) , 1956-05-27 - 1956-07-15 , cat. no. 5
Rembrandt : Der Meister und seine Werkstatt Altes Museum [SMBPK] , Berlin (city) , 1991-09-12 - 1991-11-10 , cat. no. 60 (as attibuted to Govaert Flick)
Rembrandt : de meester & zijn werkplaats Rijksmuseum Amsterdam , Amsterdam (city) , 1991-12-04 - 1992-03-01 , cat. no. 60
Rembrandt : The Master and his Workshop National Gallery [London] , London (England) , 1992-03-26 - 1992-05-14 , cat. no. 60
Rembrandt by himself National Gallery [London] , London (England) , 1999-06-09 - 1999-09-05 , cat. no. 27
Rembrandt zelf Koninklijk Kabinet van Schilderijen Mauritshuis , The Hague (city) , 1999-09-25 - 2000-01-09 , cat. no. 27
Da Rembrandt a Vermeer : valori civili nella pittura fiamminga e olandese del '600 Museo Fondazione Roma , Rome , 2008-11-11 - 2009-02-15 , cat. no. 21

Literatuur

Oesterreich 1764 , no. 869
Nicolai 1786 , p. 1210, no. 87
Meyer/Bode/Tschudi [s.a.] , no. 808
London 1854 , vol. 1, p. 396
Vosmaer 1868 , p. 69
Berlin 1883 , p. 363
Bode 1883 , p. 410, 562, no. 36
Muther 1889 , P. 280
Michel 1893 , p. 551
Berlin 1898 , P. 242
Bode/Hofstede de Groot 1897-1905 , vol. 3, no. 168
Moes 1897-1905 , vol. 2, no. 6693.20
Berlin 1904 , P. 309
Schubring 1905 , p. 260
Von Wurzbach 1906-1911 , vol. 2, p. 396
Berlin 1906 , p. 309
Berlin 1909A , p. 229
Rosenberg/Valentiner 1909 , p. 144
Posse 1911 , p. 177
Fischel [s.a.] , p. 22, 85
Berlin 1912 , p. 346
Hofstede de Groot 1907-1928 (German edition) , vol. 6 (1915), no. 525
Van Dyke 1923 , p. 120 , as Jan Lievens
Friedländer 1930 , no. 368
Berlin 1931 , p. 379
Berlin 1932 , p. 121
Bredius 1935 , no. 23
Benesch 1935 , p. 19
Pinder 1943 , p. 51
Wiesbaden 1946 , no. 27
Kaschnitz 1951 , p. 25
Zimmermann 1956 , no. 5
Sumowski 1957-1958 , p. 235
Bauch 1966 , no. 304
Erpel 1967 , no. 50
Gerson 1968 , no. 133
Bredius/Gerson 1969 , no. 23
Berlin 1975 , p. 339-340 , also in the edition of 1978
Bolten/Bolten-Rempt 1978 , no. 210
Wright 1982 , no. 25
Sumowski 1983-1994 , vol. 1 (1983), p. 17, fig. 59; vol. 2 (1984), p. 1031, onder no. 658
Schwartz 1985 , no. 197
Bock et al. 1986 , p. 63
Corpus of Rembrandt Paintings 1982-2015 , vol. 2 (1986), no. C 56
Tümpel 1986 , no. A 65
Alpers 1988 , p. 121, fig, 4.25
Grimm 1991 , p. 98, 100, 101
Brown/Kelch/ Van Thiel 1991 , no. 60
Slatkes 1992 , no. 248
Von Sonnenburg/Liedtke 1995 , vol. 2, p. 16-17
Bock/Grosshans 1996 , p. 48, 340
Liedtke 1997 , p. 43, fig. 2-11
White et al. 1999 , no. 37
Van de Wetering 2003 , p. 6, 8, 12
Bartoschek/Vogtherr 2004 , p. 391
Liedtke 2004A , p. 65
Vogtherr 2005 , p. 100, no. 58
Corpus of Rembrandt Paintings 1982-2015 , vol. 4 (2005), p. 216, 603 corrigenda et addenda, II C56 / Br. 23
Stehr 2006 , p. 105
Hirschfelder 2008 , no. 416
Lindemann 2008A , no. 21
Schepkowski 2009 , p. 90
Corpus of Rembrandt Paintings 1982-2015 , vol. 6 (2015), no. 146

G. F. Waagen, Verzeichnis der Gemälde-Sammlung des Königlichen Museums zu Berlin, Berlin 1830, no. II/335
F. Kugler, Beschreibung der Gemäldegalerie des königlichen Museums zu Berlin, Berlin 1836, p. 229
A. Payne, Die Königlichen Museen in Berlin. Eine Auswahl der vorzüglichsten Kunstschätze der Malerei, Sculptur, und Architektur der norddeutschen Metropole, dargestellt in einer Reihe der ausgezeichnetsten Stahlstiche mit erläuterndem Texte, Leipzig / Dresden 1855, p. 159-164, with steel engraving
W. Bode, A. Goldschmidt, Die Gemälde-Galerie der Königlichen Museen zu Berlin, 4 Bde, Berlin 1899-1909, vol. 4, p. 35
J.C. van Dyke, New Guides to Old Masters. Berlin, Dresden. Critical Notes on the Kaiser-Friedrich Museum and the Royal Gallery, Dresden, New York 1914, p. 85-86
Führer durch die Staatlichen Museen zu Berlin. Das Kaiser-Friedrich-Museum, Berlin 1919 (expanded and revised 4th edition of 1910), p. 484
Werke Alter Meister. 32 Reproduktionen nach Originalen des Königlichen Museum, Berlin, Berlin 1920, no. 18
Führer durch das Kaiser Friedrich-Museum, Berlin 1920 (expanded and revised 6th edition of 1904), p. 145
H. Makowsky, Beschreibendes Verzeichnis der Gemälde im Kaiser Friedrich Museum, Berlin/Leipzig 1921 (expanded and revised 8th edition of 1878), p. 372
A. Hentzen, Meisterwerke der europäischen Malerei. 220 Bilder der Berliner Gemäldegalerie, Berlin 1944, p. 12, fig. 107
E. Rücker, G. Neumann, G. Arnolds, Staatliche Museen Berlin. Gemälde des XIII. bis XVIII. Jahrhunderts, Berlin (West) 1956, 1959, 1960, 1961, 1962, p. 56; 1963 (expanded and revised 8th edition of 1956) 1964, 1966, 1968, p. 88
G. Eckardt, Die Bildergalerie in Sanssouci, Dissertation, Berlin 1974, p. 294
J. Kelch, "Zum aktuellen Stand der Rembrandt-Forschung", museumsjournal 3,5 (1991), p. 29-30
H. Zoričič, "Govert Flinck: Poret Saskije, Muzej Mimara, Zagreb", peristil: zbornik radova za povijest umjetnosti 37 (1994), p. 127, 130-132
Die Schönste der Welt: eine Wiederbegegnung mit der Bildergalerie Friedrichs des Großen, exhibition publication,"Die Schönste der Welt. eine Wiederbegegnung mit der Bildergalerie Friedrichs des Großen", Bildergalerie im Park Sanssouci, Potsdam 2013, p. 54-55

Beelddocumentatie

Standplaats afbeelding Locatie van de afbeelding in de beelddocumentatie.

TD/Digital collection (afb.nr. 0001504199)
BD/Digital Collection (afb.nr. 0000271067)
, standplaats origineel BD/RKD/0612 - ONS/Portraits: Rembrandt and School (afb.nr. 0000063116)

Project: The Rembrandt Database
The Rembrandt Database - research project Berlin Gemäldegalerie
RemBench
Gerson Digital : Duitsland

23 treffers in RKDtechnical, betreffende:

Type technisch onderzoek

Onderzoeks- en restauratieprojecten

conditie onderzoek, 1888-01-26 1 treffersMemorandum in protocol of the Gemäldegalerie: "[…] sind 25 Stichproben vorgenommen worden.
808. Rembrandt Gut erhalten" (Central Archive of the SMB: Zentralarchiv, ZA: I/GG 6).
restauratie, 1890-07-25 1 treffersinvolved_persons: Alois Hauser (1857-1919)
Memorandum in protocol of the session of the Sachverständigen-Commission der Gemäldegalerie [the commission of authorised experts of the Gemäldegalerie]: "Bild soll von dem Restaurator Hauser restauriert werden" (Central Archive of the SMB: Zentralarchiv, ZA: I/GG 48).
conditie onderzoek, 1898-02-10 1 treffersMemorandum in protocol of the Gemäldegalerie:"Bei den Stichproben wurden die folgenden Gemälde nach Identität und Zustand ordungsgemäß befunden: 18) Rembrandt 808" (Central Archive of the SMB: Zentralarchiv, ZA: I/GG 9).
restauratie, 1977-11-23 1 treffersinvolved_persons: Alexander Lobodzinski
Memorandum in treatment record: "Da auch dieses Bild eine Scheibe erhalten soll, wurden die vielen Druckstellen vom Rahmen an den Rändern des ringsum überrahmten Bildes mit Firnis betupft".
onderzoeksproject Neutron Autoradiography, 1983 — 2015 1 treffersinvolved_persons: Jan Kelch; Carl-Otto Fischer; Wolfgang Leuther; Klaus Slusallek; Claudia Laurenze-Landsberg; Brigit Schröder-Smeibidl; Andrea Denker
Thanks to the collaboration of nearly three decades with the Helmholtz-Zentrum Berlin, the Berlin Gemäldegalerie is the only museum in the world able to make consistent and systematic use of neutron-activation autoradiography (NAAR) and gamma-ray spectroscopy in the examination of paintings. Neutron-induced autoradiography is an exceptionally versatile and successful method to examine paintings in a nondestructive manner. It provides insight into the pigments used, the brushwork, the state of preservation of the various layers of paint, and the many stages that went into creating the work. In combination with other technical examination methods, NAAR presents us with a special opportunity to take a detailed look at a painter’s creative process. The long-term project between the two institutions aims to scientifically reassess paintings.
restauratie, 1991-08-01 — 1991-08-02 1 treffersinvolved_persons: Beatrix Graf
Memorandum in treatment record: "Versuch, winzige Schollen .. zu festigen. Ohne sichtbaren Erfolg".
onderzoeksproject Rembrandt in change of perspective: an interdisciplinary approach. New art technological and art historical analyses of Rembrandt paintings from the Gemäldegalerie., 2011 — 2016 10 treffersinvolved_persons: Claudia Laurenze-Landsberg; Katja Kleinert
The Gemäldegalerie presides over one of the most comprehensive collections of Rembrandt paintings in the world. These paintings are part of a long-term interdisciplinary research project, made possible by the generous support of the Andrew W. Mellon Foundation and the Staatliche Museen zu Berlin.
The aim of this research project is to conduct for the first time in-depth analysis by comparing data of technical research (in particular neutron-activation autoradiography) with art-historical findings. The core of these examinations consists of an integrated study on provenance, exhibition history and restoration history on the one hand, and new analyses of the painting techniques on the other. By linking material-technical and art-historical facets, the findings can be embedded in their original iconographic and cultural-historical context. The project will focus on new insights relating to the genesis of the paintings, the development of subjects and motifs, as well as Rembrandt’s artistic and painterly technique. By combining technical and art-historical research within an interdisciplinary team the project will achieve innovative results that are beyond previous research.
All relevant information covered in the project will subsequently be made accessible to the public as part of the online Rembrandt Database.

Externe links: Claudia Laurenze-Landsberg and Katja Kleinert, Self-portrait with a velvet beret and gold chain. Summary of research results, April 2014

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Ingevoerd op: 2000-10-06; Laatste wijziging: 2022-09-28

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