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Rembrandt en atelier van Rembrandt

De droom van Jozef (Mattheüs 2:13), 1645
Berlin, Gemäldegalerie (Staatliche Museen zu [..]
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schilderij
Fysiek verband
Verwijzing bij 'samengestelde kunstwerken': werken die een geheel vormen of vormden, zoals altaarstukken, decoratieve stukken uit een betimmering of werken die bedoeld waren om samen te worden getoond, zoals pendanten en reeksen.

pendant

Drager/materiaal
paneel, olieverf
The wood is identified as Jequitiba (Cariniana legalis or Cariniana estrellensis) and comes from the same tree as "Tobit and Anna with the kid" (Bauch and Eckstein 1981, p. 254). Traces of a grid pattern can be found on the back of the painting, suggesting that the painting was copied or reproduced at one point in time. At regular intervals there are small punctures made by a pencil, on which drops of wax were applied, showing small indentions. Probably the wax drops held the threads that were stretched on the front of the painting in a grid pattern to facilitate the copyist (Sandra Stelzig, Claudia Laurenze-Landsberg and Katja Kleinert, research project Berlin Gemäldegalerie).
Vorm/maten
liggende rechthoek 20,7 x 27,8 cm
Signatuur/opschrift
Informatie over de signatuur, datering, opschrift of merk op de voor- of achterzijde van het kunstwerk
  • draagt signatuur en datum middenonder: Rembrandt f. [1]64...
    The signature is applied on the board at Mary’s feet in the lower right corner, in dark grey or black paint consisting of an unrecognizable composition. Of the original inscription only the name is fully recognizable. Of the date, only the "6" is clearly readable nowadays (Corpus of Rembrandt Paintings 1982-2015, vol. 5 (2011), no. V8). In his publication of 1790, Puhlmann identified the date as 1641, and consequently dates the work to that year (Puhlmann 1790, no. 146, p. 154). Smith, on the other hand, identified the date as 1645, and Vosmaer was of the opinion that the date is unreadable (Smith 1829-1842, vol. 7 (1836), no. 29; Vosmaer 1868, p. 469). The complete signature "Rembrandt f. 1645" was published by Waagen in 1830, as well as in the Berlin inventory of 1833. In the collection catalog of 1883 a transcription of the signature was published for the first time and since then has been considered as authentic compared to other known originals. One can therefore assume that the original date must be read as "1645" (Claudia Laurenze-Landsberg and Katja Kleinert, research project Berlin Gemäldegalerie).
  • verzamelaarsmerk op de achterzijde: Königliche Museen Berlin
    On the backside: red seal with the Prussian eagle and the inscription "Königliche Museen Berlin" not recessed in a drill hole, but rather directly on the panel's reverse, with a diameter of 2,5 cm (in use approx. 1877-1918).
  • etiket op de achterzijde: [printed] Staatliche Museen Berlin – Gemäldegalerie / Inv.-Nr./ Kat. Nr. [handwritten in black ink] I/897/ 806/Traum Josephs
    On the backside: inventory label: [printed:] Staatliche Museen Berlin – Gemäldegalerie / Inv.-Nr./ Kat. Nr. [handwritten in black ink] "I/897" [Roman and Arabic numerals, divided by a diagonal line] "806" [Arabic numerals] "Traum Josephs".
  • etiket op de achterzijde: [printed] STAATLICHE MUSEEN BERLIN / GEMÄLDEGALERIE / Kat.-Nr. [typewritten] 806/Rembrandt / Der Traum Josephs
    On the backside: inventory label: "[printed] STAATLICHE MUSEEN BERLIN / GEMÄLDEGALERIE / Kat.-Nr. [typewritten] 806/Rembrandt / Der Traum Josephs"
  • etiket op de achterzijde: W220 / Siemens / 360 mAs / 806 / 31.3.32
    On the backside: X-ray label from 1932: technical indications on the x-ray image by Wehlte in 1932, small handwritten label: "W220 / Siemens“ [I not visible] / 360 mAs / 806 / 31.3.32". The number "W220" does not correspond to Wehlte's photograph number (342), as would usually be the case with other paintings.
  • etiket op de achterzijde: Regal 523
    On the backside: label with red oil crayon: "Regal 523" (presumably in Wiesbaden).
  • etiket op de achterzijde: ...20...
    On the backside: torn label with remnants of printed numbers "…20.." (?).
  • etiket op de achterzijde: ...20
    On the backside: Remnants of a small label with canted corners, triple blue borderline, ball-point: "..20".
  • inscriptie op de achterzijde: Rembrandt/ ..06 (?)
    On the backside: inscription black paint, brush: "Rembrandt/..06" (?) in a different black paint, should presumably be read as "806", first number covered by labels.
  • nummer op de achterzijde: I. 897
    On the backside: below the seal in stencil, black: "I. 897", Roman and Arabic numerals divided by a diagonal line.
Huidige toeschrijving
Rembrandt
en atelier van Rembrandt
Since the work was first mentioned in 1769, it had continuously been considered an authentic Rembrandt. It was described as such in inventories of the Gemäldegalerie Berlin up and until 1996. However, in 1986 Tümpel was the first to express doubts about the authenticity of the painting (Tümpel 1986, no. 64). In 2006 the work was included in the exhibition Quest of a Genius as Rembrandt and/or workshop (Kelch/Van de Wetering 2006, no. 48). Van de Wetering attributed the work to Rembrandt and his workshop in Corpus volume 5 and 6 (Corpus of Rembrandt Paintings 1982-2015, vol. 5 (2011), no. V8; vol. 6 (2015), no. 202). He refers to the differences in quality of different parts of the work, and considers especially the pastose passages at times unskillfully executed and untypical of Rembrandt. As explanation for these discrepancies he suggests that the panel could be an oil sketch painted by Rembrandt, reworked by one of his pupils with a special focus on the illusion of light and color. The Gemäldegalerie is working on a final analysis based on their latest findings (Sandra Stelzig, Claudia Laurenze-Landsberg and Katja Kleinert, research project Berlin Gemäldegalerie).
Datering
Exacte of globale datering van het kunstwerk; de zoekmarges van het werk in deze database staan tussen haakjes.
1645 (1645)
see remark signature/inscription
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: 2002-09-30; Laatste wijziging: 2018-10-04

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