From whom acquired by the present owner in 2017. It may be that the famous preacher Johannes Wtenbogaert, whose portrait Rembrandt had painted in 1633 and who was living in Rotterdam at that time, introduced him to the family. Rembrandt has evoked the old lady’s blotched, blemished and sagging skin using different textures and thicknesses of paint. ‘Portrait of an old Woman’ was created in 1654 by Rembrandt in Baroque style. "Rembrandt: The Late Works" at The National Gallery, London. that's a great way to impress friends, neighbors and clients alike. https://www.nga.gov/research/online-editions/17th-century-dutch-paintings/essay-issues-attribution-rembrandt.html, http://www.rembrandtdatabase.org/Rembrandt/painting/59313/the-apostle-simon, https://purl.org/nga/collection/artobject/79. Rembrandt has used contrasts between light and dark – for example, the blacks and whites of the sitter’s clothes, the highlights on her nose, the heavy shadow under her chin and the lighter, subtle greys of her headdress – to create a highly convincing three-dimensional effect. No printing A prominent portraitist, Rembrandt is most famous for The Night Watch (1642), a monumental painting of militia guards that features Rembrandt’s distinctive use of chiaroscuro. Over a plain bodice she is wearing a sleeveless coat, or graingat, with large shoulder wings. Wilhelm von Bode included RR-113 in his catalogue of Rembrandt’s paintings in 1900, and it subsequently appeared in the Rembrandt studies published by Cornelis Hofstede de Groot, Adolf Rosenberg, Abraham Bredius, Kurt Bauch, Horst Gerson, and Christopher Brown. A New Perspective" at Museo Thyssen-Bornemisza, Madrid. cat. Study of an Elderly Woman in a White Cap and Rembrandt's Anslo portrait We would not expect Rembrandt to have painted anything without a reason, and it is a reasonable assumption that the present picture had a particular purpose. For a discussion of Rembrandt’s brushwork and its reception at the end of his career, see Jonathan Bikker and Anna Krekeler, “Experimental Technique: The Paintings,” in Jonathan Bikker et al., Rembrandt: The Late Works (Exh. By this point, as Tümpel notes, these “studies of heads had long since lost their original function as preparatory material for history paintings, becoming a genre in their own right” (299). Picture number: The lecturer casts doubt on this by arguing that the wood panel was expanded many years after the painting was originally done. 41 [for £5,775 to Donaldson]). Limited-Edition Prints by Leading Artists, Other works from Rembrandt: The Late Works, A Woman bathing in a Stream (Hendrickje Stoffels? Sign up today and be among the first to know about special events, exhibitions and programs. Portrait of an Elderly Woman - Rembrandt Harmenszoon van Rijn was a Dutch painter and etcher. The beret in the Self-Portrait also indicates white brushstrokes beneath the dark paint. His contributions to art came in a period that historians call the Dutch Golden Age. Arthur R. Peltzer, 4 vols. You can now sign up to have your practice essays evaluated and scored by the author of this page. 2624, and Half-Length Figure of an Old Woman, ca. Friedrich Ludwig von Gans (1833-1920), Frankfurt. The use of the term “portrait” in this essay relies on the definition set forth by Arthur K. Wheelock Jr. in his study of these religious portraits. Data successfully added to your Wish List ! The lecturer casts doubts on the claims made in the article. Send you a digital copy via email for your approval before There is scattered retouching throughout and a pronounced craquelure pattern appears throughout the entire picture, particularly in darker passages and in the woman’s sleeve. Learn more at. Rembrandt has used contrasts between light and dark – for example, the blacks and whites of the sitter’s clothes, the highlights on her nose and the heavy shadow under her chin – to create a highly convincing three-dimensional effect. If the man is Cornelis van Beresteyn, then the woman must be his second wife, Corvina van Hofdyck (1602–1667). Secondly, the author states that the depiction of light and shadow in the portrait is poorly done. British Institution for Promothing the Fine Arts. The source of the light is hidden, so it seems to radiate directly from the sleeping child, illuminating the faces of all around him.The scene represents the... A Woman bathing in a Stream (Hendrickje Stoffels? He likewise defined her eyebrows and forehead with a series of short, diagonal brushstrokes, and left the cool gray underlayer visible around the eyes to enhance the appearance of shadows.14 Rembrandt had already used this technique to create shadows around the eyes in his Self-Portrait of 1659 (Washington, National Gallery of Art), as well as in A Young Man Seated at a Table (Possibly Govaert Flinck) (Washington, National Gallery of Art, ca. See References for full history. Select here to add this item to your default List. This service is a great way to learn how you will do before test day and how you can best prepare for the big day. An exception is Rembrandt’s series of religious portraits from the late 1650s and early 1660s, which depicts half-length biblical figures often with some form of identifying attribute. Arthur K. Wheelock Jr. (Exh. For an investigation into Rembrandt’s late period, see Jonathan Bikker et al., Rembrandt: The Late Works (Exh. Strokes of all types and colors—ochers, pinks, whites—merge, blend, and overlay in ways that defy description, as he often used a wet-into-wet painting technique.1 Seated alertly in an armchair in a darkened chamber with stark plaster walls, and with her hands in her lap, she is physically at rest but emotionally and spiritually engaged, alone with her thoughts. When this portrait was made, Philips Lucasz. This image is licensed for non-commercial use under a Creative Commons agreement. See the Technical Report written by Kristin deGhetaldi on file at The Leiden Collection. van Grotewal, the wife of Amsterdam merchant Pieter Sijen. These observations were made by Kristin deGhetaldi. He began by making an oil sketch on paper, then tore out a section and mounted the rest on canvas. He was clearly excited by the possibilities of his art and keen to experiment. The woman’s rugged face, with its pronounced cheekbones, forceful chin, and generous nose, has great strength of character, but Rembrandt reveals the fullness of her inner life through her furrowed brow and deeply sunken eyes, … This is one of dozens of self portraits by Rembrandt. The optical illusion created by this painting, is a powerful one. 27 7/16 × 22 in. He had been in charge of the company’s fleet, which had sailed home from the East Indies in December 1633 and was to leave Holland again on 2 May 1635, shortly after this pi... Saskia van Uylenburgh, the daughter of a burgomaster of Leeuwarden in Friesland, was Rembrandt’s first wife. This particular dress, however, remains distinctive within Rembrandt’s oeuvre. (69.7 × 55.9 cm.) For the National Gallery paintings, see Arthur K. Wheelock Jr., “Rembrandt van Rijn/Self-Portrait/1659” and “Rembrandt van Rijn/A Young Man Seated at a Table (Possibly Govaert Flinck)/c. https://theleidencollection.com/artwork/portrait-of-a-seated-woman-with-her-hands-clasped/ (accessed November 25, 2020). For Rembrandt’s work in The Leiden Collection, see Perry H. Chapman, “Rembrandt and The Leiden Collection,” in The Leiden Collection Catalogue, ed. The Horn Foundation 1977.16. The description of the sitter in the literature has oscillated between “Portrait of an Old Woman” and “Head of an Old Woman.” While the former suggests a portrait of a specific individual, the latter accords more with the use of a study or tronie.