Artist | Rembrandt |
---|---|
Year | 1636 |
Catalogue | Rembrandt Research Project, A Corpus of Rembrandt Paintings VI: #147 |
Medium | Oil on canvas |
Dimensions | 118.8 cm× 96.8 cm(46.8 in× 38.1 in) |
Location | Rijksmuseum, Amsterdam |
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." [1]
Rembrandt's flag bearer has several copies in oil, and later prints may be from such copies, but this painting nevertheless has a provenance reaching far into the 18th-century. It was documented as a self-portrait by Smith in 1836, who wrote:
Rembrandt in the character of a Standard-Bearer. His portly countenance, which is seen in nearly a front view, denotes him to have been about fifty years of age; a large hat, turned up at the side, and decked with feathers, covers his head, and a steel cuirass shields his breast: the remainder of his habiliments are suitably rich and appropriate. One hand grasps the staff of an unfurled banner, and the other is placed on his side. This splendidly-coloured picture is engraved by Lause, and also by G. Haid. From the collection of Chevalier Verhulst, M. le Boeuf and M. Robit. It was afterwards in the collection of his Majesty George IV., who exchanged it with M. Lafontaine for other pictures.
— Smith, 1836 [2]
Cornelis Hofstede de Groot agreed with him in 1914, but stopped short of calling it a self-portrait. He wrote:
270 A STANDARD-BEARER. Sm. 201, and Suppl. 23; Bode 300; Dut. 148; Wb. 313; B.-HdG. 206.
He stands in profile to the right, turning his face round and looking at the spectator. With his left hand he holds a large white banner on his shoulder; his right hand is on his hip. Over his brown curls he wears a slashed cap with a brown plume; his face is shaved, save for the long moustache. Over his yellowish-brown coat, trimmed with lace, he wears an iron gorget and a broad sash from which a sword hangs at his side. He has loose sleeves and a white collar and wrist-bands. Strong light from the left touches his back and his face and falls full on the banner. Life size, three-quarter length. The man has Rembrandt's features.
Signed on the right at foot, "Rembrandt 163-" the last figure, now illegible, was probably a 5; canvas, 50 by 42 inches [1,300 mm × 1,100 mm].
A copy is in the Cassel Gallery, 1903 catalogue, No. 251 (Wb. 53); it has been there since the 1749 inventory, and was etched by N. Mossoloff.
Another copy is in the collection of the late P. A. B. Widener, Philadelphia, 1908 catalogue, No. 242. Other copies were in the
Sales. J. F. Wolschot, Antwerp, September 1, 1817, No. 12.
Duke of Buckingham, Stowe, August 15, 1848, No. 415 (£54 : 12s., Wakeford Attree).
Etched by P. Louw, J. F. Clerck, G. Haid.
Mentioned by Vosmaer, pp. 340, 554; by Bode, p. 597; by Dutuit, p. 52; [by Michel, pp. 166-7, 169, 436].
Exhibited at the British Institution, London, 1819, No. 59, and 1836, No. 34.
Sales. L. van Heemskerk, Leyden, September 2, 1771, No. I (61 florins, Delfos); to judge from the price, this was one of the copies. G. F. J. de Verhulst, Brussels, August 16, 1779, No - 8o ( 354 florins or, according to other authorities, 1290 francs, Fouquet). Le Boeuf, Paris, 1782 (5300 francs). Robit, Paris, May 21, 1801, No. 117 of Bryan's catalogue (3095 francs, Lafontaine).
In the collection of George IV., King of England, who exchanged it with Lafontaine for other pictures.
In the possession of the London dealer Lafontaine. In the collection of Sir Simon H. Clarke, London.
In the collection of Lady Clarke, Oak Hill, 1836 (Sm., who valued it at 525).
Sale. Sir Simon Clarke, Bart., London, May 8, 1840 (840, Baron James de Rothschild, Paris).
In the collection of Baron Henry de Rothschild, Paris.
— Hofstede de Groot, 1914 [3]
In 2019 the painting has been classified as a national treasure of France, so an export bar was in place for 30 months, while the Louvre tried to raise funds to buy the painting. [4] The museum was unable to do so and waived its right of first refusal for purchase. In December 2021, the Dutch state announced its intention to buy the work for the national collection. [5]
As result, the Rothschild family sold the painting to the Netherlands for €175 million in 2022. The Dutch government paid €150 million, while the Rembrandt Association and the Rijksmuseum contributed a total of €25 million. It was bought from the Rothschild family, who had owned it since 1844, [6] via a trust located in the tax haven of the Cook Islands. [7] The Standard Bearer is to tour every province in the Netherlands before going on display at the Rijksmuseum's Gallery of Honour. [8] It was acquired during the COVID-19 pandemic amid media coverage of failing income for the Netherlands' cultural sector. The painting was shown at the Rijksmuseum in 2019 and had attracted the museum's interest since France agreed to let the painting leave the country. [6]
The painting toured the Netherlands in 2022 and 2023. [9]
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 Rembrandt Research Project (RRP) was an initiative of the Nederlandse Organisatie voor Wetenschappelijk Onderzoek (NWO), which is the Netherlands Organization for Scientific Research. Its purpose was to organize and categorize research on Rembrandt van Rijn, with the aim of discovering new facts about this Dutch Golden Age painter and his studio. The project started in 1968 and was sponsored by NWO until 1998. Research continued until 2014. It was the authority on Rembrandt and had the final say in whether a painting is genuine. The documentation generated by the project was transferred to the Netherlands Institute for Art History and renamed the Rembrandt Database.
Self-portrait wearing a white feathered bonnet is an oil painting attributed to the Dutch painter Rembrandt. It is signed and dated 1635. It was traditionally regarded as a Rembrandt self-portrait until 1968, when it was rejected on stylistic grounds in the Rembrandt catalogue raisonné by Horst Gerson. In 2013, art historian Ernst van de Wetering re-attributed the painting as an original Rembrandt. It is one of over 40 painted self-portraits by Rembrandt.
The Lute Player is an oil-on-canvas painting from 1623 or 1624 now in the Louvre by the Haarlem painter Frans Hals, showing a smiling actor wearing a jester's costume and playing a lute.
Old Man with a Gold Chain is a portrait by Rembrandt, painted around 1631 and now in the Art Institute of Chicago.
Catharina Both van der Eem is a painting by the Dutch Golden Age painter Frans Hals, painted in 1620 and now in Louvre Museum. It is considered a pendant portrait to the Portrait of Paulus van Beresteyn, in the same museum.
Young man playing the lute is an oil painting executed in 1624 by the Dutch Golden Age artist Judith Leyster. It is now in the collection of the Rijksmuseum, and is a period copy of the same subject by Frans Hals. It was acquired by the museum as a painting by Frans Hals and was skipped by the researcher Juliane Harms in 1927, being finally attributed to Leyster by Seymour Slive in 1974.
The Ray of Light, also known as Le Coup de Soleil, is an oil on canvas painting by the Dutch painter Jacob van Ruisdael. It is an example of Dutch Golden Age painting and is now in the collection of the Louvre Museum.
The pendant portraits of Maerten Soolmans and Oopjen Coppit are a pair of full-length wedding portraits by Rembrandt. They were painted on the occasion of the marriage of Maerten 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 Catharina Hooghsaet (1607–1685) is a 1657 painting by the Dutch Golden Age painter 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 in Stockholm, Sweden.
The Stone Bridge is a 1637 landscape painting by the Dutch Golden Age painter Rembrandt in the collection of the Rijksmuseum.
Self-Portrait is a 1665 niche painting by Gerrit Dou. It shows the artist at the peak of his fame, holding a palette and surrounded by studio objects. It is in the collection of the Metropolitan Museum of Art, in New York.
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.
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 62-year-old Woman, possibly Aeltje Pietersdr Uylenburgh is a 1632 portrait painting painted by Rembrandt. It is an oil on panel in oval format depicting an elderly woman with a small and sober millstone 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.
Portrait of Elisabeth Bas is a portrait by Ferdinand Bol of the Dutch businesswoman Elisabeth Bas, commissioned by her grand-daughter Maria Rey, from the 1640s. It is in the collection of the Rijksmuseum Amsterdam, where it is known as Elisabeth Bas and attributed to Ferdinand Bol, though the identity of the sitter is held in doubt by the Rijksmuseum.