| Portrait of an Old Woman | |
|---|---|
 | |
| Year | c. 1640 |
| Location | Metropolitan Museum of Art |
Portrait of an Old Woman is a c. 1640 portrait painting painted in the style of Jacob Adriaensz. Backer. It shows an old woman with folded hands. It is in the collection of the Metropolitan Museum of Art. [1]
Several portraits of older people of 17th-century Amsterdam have survived, and sometimes these were pendants and sometimes they were individual portraits. This painting was attributed to Rembrandt for more than a century, but the name of the sitter is unknown. During the course of the 20th-century, this painting was attributed to Jacob Adriaensz. Backer, and today it is considered a portrait from circa 1640, but the painter is as yet unknown. The woman is probably from Amsterdam, but could possibly have been from another Dutch city. It is inscribed with her age of 87, which indicates a long and therefore privileged life. Her wealth is further emphasized by her fur-lined vlieger. This painting came into the collection via the Mrs. H. O. Havemeyer bequest.
This painting was documented by Hofstede de Groot in 1914, who wrote; 870. A WOMAN WITH FOLDED HANDS. Wb. 307; B.-HdG. 278. Half-length ; life size. She sits in an arm-chair, inclined to the left, and looks in that direction. Her elbows rest on the chair-arms ; her hands are folded. She wears a white cap with outstanding sides shaped like a mussel-shell, and over it a small black cap ; a soft broad ruff, and a black jacket, trimmed with fur at the bosom and shoulders, over a dark gown, with narrow wristbands. Lighted evenly from the front. Brown background. Signed to the right, "Rembrandt f. 1640," and inscribed to the left at top, " AET SVAE 87 " ; oak panel, 27 1/2 inches by 24 inches.
An old copy on panel, 41 inches by 35 inches was:
Etched by Bracquemond in the San Donato catalogue, 1868 ; by Ramus in the Narischkine catalogue.
Mentioned by Vosmaer, p. 523 ; Dutuit, p. 20 ; Michel, pp. 268, 561 [206, note, describing it as a copy, and treating Lord Yarborough's version as the original]. Exhibited at the Hudson-Fulton Celebration, Metropolitan Museum, New York, 1909, No. 89.
Sales. Gerrit Muller, Amsterdam, April 2, 1827. Comte F. de Robiano, Brussels, May 1, 1837, No. 543 (6000 francs, Nieuwenhuys). In the possession of D. Nieuwenhuys, Brussels. Sales. Anatoly Nikolaievich Demidov, 1st Prince of San Donato, Paris, April 18, 1868 (55,000 francs). Narischkine, Paris, April 5, 1883, No. 29 (51,000 francs, Beurnonville). Baron de Beurnonville, Paris, June 3, 1884 (41,000 francs, bought in). Baron de Beurnonville, Paris, January 29, 1885 (25,000 francs, R. Kann). In the collection of Rodolphe Kann, Paris. In the collection of the late H. O. Havemeyer, New York." [2]
Though the painting is positioned as if she is looking towards a pendant sitter, her portrait could have been painted for a hofje or some other institution to remember her by, after her death. Another version by Backer of the same woman is in the Gemäldegalerie. Since that painting has yet to be recovered after WWII, it is assumed lost. Other details may give clues, such as the black band may be a sign of mourning and the small wrist collars could mean the Mennonite faith.
Willem Drost was a Dutch Golden Age painter and printmaker of history paintings and portraits.
Jacob Adriaensz Backer was a Dutch Golden Age painter. He produced about 140 paintings in twenty years, including portraits, religious subjects, and mythological paintings. In his style, he was influenced by Wybrand de Geest, Rubens and Abraham Bloemaert. He is also noted for his drawings of male and female nudes.
Dirck Jansz Pesser was a Dutch brewer from Rotterdam, best known today for his portrait by Rembrandt. He was an important member of the Rotterdam Remonstrant community in the early 17th century.
The pendant portraits of Marten Soolmans and Oopjen Coppit are a pair of full-length wedding portraits by Rembrandt. They were painted on the occasion of the marriage of Marten Soolmans and Oopjen Coppit in 1634. Formerly owned by the Rothschild family, they became jointly owned by the Louvre Museum and the Rijksmuseum in 2015 after both museums managed to contribute half of the purchase price of €160 million, a record for works by Rembrandt.
Portrait of Maria Trip (c.1639) is an oil painting on panel by the Dutch painter Rembrandt. It is an example of Dutch Golden Age painting and is now in the collection of the Rijksmuseum.
The Holy Family with Angels (1645) is an oil painting on canvas by the Dutch painter Rembrandt. It is an example of Dutch Golden Age painting and is now in the collection of the Hermitage Museum.
The Kitchen Maid (1651) is an oil-on-canvas painting by the Dutch painter Rembrandt. It is an example of Dutch Golden Age painting and is now in the collection of the Nationalmuseum, Stockholm, Sweden.
The Stone Bridge is a 1637 landscape painting by the Dutch Golden Age painter Rembrandt in the collection of the Rijksmuseum.
Lucretia is a 1664 history painting historically attributed to the Dutch Golden Age painter Rembrandt in the collection of the National Gallery of Art. In 2015, Ernst van de Wetering of the Rembrandt Research Project said that "the formal properties and execution of [this] painting, I am convinced, exclude the possibility that it could be an autograph work by Rembrandt", and that the painting recalls Aert de Gelder. The painting is not included in the project's 2015 Rembrandt corpus.
Head of Christ is a 1650s painting by Rembrandt's workshop. It shows Christ with a beard and long dark hair. It is in the collection of the Metropolitan Museum of Art.
Portrait of a Woman, probably a Member of the Van Beresteyn Family is a 1632 oil-on-canvas portrait painting by Rembrandt. A depiction of a woman with an unusually large millstone collar, it is a pendant to Portrait of a Man, probably a Member of the Van Beresteyn Family. Both portraits are in the collection of the Metropolitan Museum of Art.
Portrait of a Man, probably a Member of the Van Beresteyn Family is an oil-on-canvas 1632 portrait painting by Rembrandt. It shows a man with a lace collar, which was a new fashion in the 1630s replacing older-styled millstone collars. It is pendant to Portrait of a Woman, probably a Member of the Van Beresteyn Family, and both are in the collection of the Metropolitan Museum of Art.
Oval Portrait of a Woman is a 1633 portrait painting painted by Rembrandt. It shows a woman with a millstone collar and diadem cap. It is in the collection of the Metropolitan Museum of Art.
Portrait of a Man is a c. 1657 portrait painting painted by Rembrandt. It is an oil on canvas and is in the collection of the Metropolitan Museum of Art.
Young Woman in a Pearl Necklace is an oil on canvas painting by the Dutch painter Willem Drost. It is an example of Dutch Golden Age painting and is part of the collection of Gemäldegalerie Alte Meister.
Portrait of a Young Woman with a Fan is a 1633 portrait painting by Rembrandt. It shows a woman holding a fan, pendant to Portrait of a Man Rising from His Chair. It is in the collection of the Metropolitan Museum of Art.
Portrait of a Woman Wearing a Gold Chain is a 1634 portrait painted by Rembrandt. It shows a smiling woman with a triple lace collar. It is in the collection of the Museum of Fine Arts, Boston.
Portrait of Petronella Buys (1610–1670) is a 1635 portrait painting painted by Rembrandt. It shows a young woman with a very large and impressive millstone collar. It is in a private collection.
The Standard Bearer is a three-quarter-length self-portrait by Rembrandt formerly in the Paris collection of Elie de Rothschild, and purchased by the Rijksmuseum for 175 million euros with assistance from the Dutch state and Vereniging Rembrandt in 2021. It was painted on the occasion of the artist's move from Leiden to Amsterdam and is seen as an important early work that "shows Rembrandt's ambition to paint a group portrait for the Amsterdam militia, at the time the most valued commission a painter could be awarded."
Landscape with Arched Bridge is a circa 1637-1638 landscape painting by the Dutch Golden Age painter Rembrandt in the collection of the Gemäldegalerie, Berlin.
This article incorporates text from this source, which is in the public domain .| Authority control: Art research institutes |
|---|
