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Rembrandt

Simson en Delila (Richteren 16:19), 1628 gedateerd
Berlin, Gemäldegalerie (Staatliche Museen zu [..]
<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>
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Object gegevens
Objectcategorie
schilderij
Drager/materiaal
paneel (eikenhout)
Vorm/maten
staande rechthoek 61,3 x 50,1 cm
Signatuur/opschrift
Informatie over de signatuur, datering, opschrift of merk op de voor- of achterzijde van het kunstwerk
  • gemonogrammeerd en gedateerd linksonder: RHL (in monogram) 1628
    The members of the Rembrandt Research Project have expressed their doubts about the authenticity of the signature and date. According to them the signature has a deviant form and the broad similarities between the present painting and the works by Rembrandt dated 1630 indicate that the date 1628 is unreliable (Corpus of Rembrandt Paintings 1983-, vol. 1 (1983), no. A 24). Claudia Laurenze-Landsberg and Katja Kleinert have no doubts about the authenticity of the signature and date. They researched the painting and discovered that the paint application of the "8" is identical to that of the other numbers and characters. No evidence could be found that would indicate that the signature may be a later addition; nor was there any reason to doubt the authenticity of the "8" (research project Gemäldegalerie Berlin; Kleinert/Laurenze-Landsberg 2009, p.148-155).
  • inscriptie rechtsonder: N [...] 39
    In his article Bode suggests that the inscription in the lower right corner (according to him it reads "89") may have been the inventory number of the painting in the Prince of Orange collection (Bode 1881, p. 50). In the 1707-1713-1719 inventory of Honselaarsdijk, the painting is listed under no. 39. The original inscription must been read as "N [...]39".
  • etiket op de achterzijde: Gen. Kat. No 2828
    general catalogue of Prussian palaces
  • etiket op de achterzijde: Inv. no. 58 / (IV)
    inventory note Altes Museum
  • etiket op de achterzijde: Staatliche Museen Berlin – Gemäldegalerie/Inv. – Nr. IV / 581/Kat.-Nr. 812 A/Samson und Delila
    inventory note Kaiser Friedrich Museum
  • etiket op de achterzijde: STAATLICHE MUSEEN BERLIN/Gemäldegalerie Kat.-Nr. 812A/Rembrandt/Simson und Delila
    inventory note Kaiser Friedrich Museum
  • etiket op de achterzijde: SMPK-GB 1C
    after 1990
  • inventarisnummer op de achterzijde: 2828
    handwritten in red chalk
  • nummer op de achterzijde: 27
    very large characters that resemble a 2 and a 7, handwritten in white chalk
  • nummer op de achterzijde: X 15
    handwritten with a black pen or pencil
  • gemerkt op de achterzijde
    large wave-shaped lines and a "c", handwritten with a blue pen
Huidige toeschrijving
Rembrandt
Since the reattribution to Rembrandt by Bode in 1881, the present painting has generally been accepted as an autograph Rembrandt.
Verworpen toeschrijving
Jan Lievens
The 1632 inventory of the collection of Frederik Hendrik of Orange lists a work by Jan Lievens: "Een stuxken schilderie daer Sampson het hayr wert affgesneden, door Jan Lievesnz. tot Leyden gemaeckt" (Drossaers/Lunsingh Scheurleer 1974, vol. 1, p. 185, no. 87). This description refers most probably to the present painting (Drossaers 1930, p. 203, no. 41). Bearing in mind the uncertainty as to attributions to Rembrandt or Lievens that one finds in the inventory of the Prince of Orange's collection (cf. for example "The abduction of Proserpina" (Corpus of Rembrandt paintings, vol. 1, no. A 39)), it is not inconceivable that a Rembrandt should be described as a Lievens (Corpus of Rembrandt paintings, vol. 1, no. A 24).
Rembrandt
From 1707 until the second half of the eighteenth century the painting was considered as a work by Rembrandt (Drossaers/Lunsingh Scheurleer 1974, vol. 1, p. 523, no. 41; Börsch-Supan 1967, p. 196, no. 111).
Govert Flinck
In 1793 the painting was recorded in the inventory of the Stadtschloss as a work by Govert Flinck (Börsch-Supan 1967, p. 187, note 73). This attribution has been accepted until the publication of an article by Wilhelm Bode in 1881. He reattributed the painting to Rembrandt. (Bode 1881, p. 55).
Datering
Exacte of globale datering van het kunstwerk; de zoekmarges van het werk in deze database staan tussen haakjes.
1628 gedateerd (1628 - 1630)
The members of the Rembrandt Research Project have their doubts about the authenticity of the date 1628 the painting bears. Because of the striking resemblances in pictorial conception and execution with a number of works dated 1630 (or mark the transition to that year) they date the present painting 1629/1630 (Corpus of Rembrandt Paintings 1983-, vol. 1 (1983), no. A 24). Claudia Laurenze-Landsberg and Katja Kleinert have no doubts about the authenticity of the date 1628 (research project Gemäldegalerie Berlin; Kleinert/Laurenze-Landsberg 2009, p.148-155).
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: 2002-04-11; Laatste wijziging: 2018-12-18

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