History painting with self-portrait of the painter

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History painting with self-portrait of the painter (Rembrandt van Rijn)
History painting with self-portrait of the painter
Rembrandt van Rijn , 1626
Oil on oak
90.1 x 121.3 cm
Museum De Lakenhal , Leiden

The history painting with self-portrait of the painter or Leiden history painting (before the Second World War Utrecht history painting ) is an oil painting by the Dutch painter Rembrandt van Rijn . It is executed in landscape format on oak and was painted as a very early work by the young Rembrandt in 1626. With its self-portrait depicted behind the raised scepter of the prince, the painting is also one of the earliest among Rembrandt's more than 75 self-portraits.

The painting was only bought in 1924 by a London art dealer as a work from the school of Peter Paul Rubens and recognized as Rembrandt. To date it has not been possible to interpret the depicted scene convincingly and to give the work an appropriate title. Numerous publications on this topic did not produce a result that is generally recognized by art historical research.

The painting belongs to the art collection of the city of The Hague and is on permanent loan at Museum De Lakenhal in Leiden .

description

Image description

In the absence of an original title, the persons depicted cannot be identified by name. The location is in front of a palace or similar building shown on the left in the picture, in the background on the right there are the towers of a city and a free-standing column. On the pillar is an animal that is difficult to identify and resembles a sheep. In the past, depending on the interpretation of the painting, the animal was also perceived as a wolf based on the Capitoline Wolf or as the decoration of the Order of the Golden Fleece .

One of the main characters is a prince standing on the steps of the palace to the left of the picture, wearing an elaborate dark blue-gray robe with fur on the edges and a dark purple cloak. As insignia of his power, he wears a golden bow-shaped crown set with precious stones and adorned with a white feather , on the left side of his body a sword, of which only the golden and richly decorated pommel is visible, and a golden scepter, which he raised in the right Hand holding. Behind the prince, on the left edge of the picture and illuminated more strongly than this, stands a man in a brocade-trimmed light brown robe with a white sash tied at the neck, an olive-green waist band and a white-feathered dark-gray-green beret with a jagged edge. This man wears a narrow scabbard on the left side of his body and a wooden staff, possibly an officer's stick, in his right hand . In the middle distance and in the center of the picture there are two more figures that can be assigned to the prince. Immediately to the right of the prince, a presumed middle-aged scribe sits facing him at a wooden table with a greenish patterned tablecloth, on which lies a wooden desk with an open book. The scribe seems to be just taking down the prince's words. To the right of the table stands a bareheaded man in a yellow doublet with gray and green striped sleeves over a white shirt, who rests his right arm on a thin stick about three feet long with a tassel at the top. The group of people who probably belong to the prince is completed by a soldier with a dark gray-green doublet, light sash and waist band and feathered beret, who stands facing the viewer and also carries a staff with a tassel. The prince as the main character of this group directs his gaze to three people kneeling or standing in front of him.

These three people, two of whom can be recognized as soldiers, occupy the right foreground as the second group of main characters. Kneeling in front, facing the prince, is a bareheaded young man who is dressed in a short scarlet soldier's cloak - possibly in Roman style - with a gold-colored sash. He wears short red boots on his feet, in his left hand his sword pointing upwards and a large round shield . The iron-studded shield has numerous bronze rivets on the edge and a large face in a star with eight wavy rays as a shield boss in the middle . The man's right hand lies on the left side of his chest as if in protest, his gaze is directed at the prince. Behind the kneeling soldier stands upright another bareheaded soldier in an iron armor over a purple doublet, dark purple tights and low shoes. In his left hand he holds a lance and a dark beret with light feathers and a jagged edge. He looks at the prince with a raised hand . Between these two soldiers, a third person in a gray-green robe, mostly hidden by them, kneels, who is also looking at the prince, but has raised both hands in a defensive gesture.

In addition to the main characters mentioned, numerous secondary characters are shown in the painting. Among them is a blond child, painted between the prince and the man standing behind him, with a light green doublet and white collar, which is almost completely covered. Above it, in the background, two people are painted, a white-haired old man with a full beard and a young soldier with a feathered beret and pike . Only their pikes can be seen of at least two other soldiers. In the background in the center of the picture, to the right of the prince and above the scribe, there are five figures. On the left, under an archway, at first the not very prominent forehead of a figure, next to it a young soldier with a gray-green doublet, white collar and pike. This figure is a self-portrait of Rembrandt. Farther to the right is a very stout old man with a full gray beard, wearing a yellowish doublet and a purple cloak with a wide fur trim. This is followed by a pikeman attentively observing the scene and, far in the background, a man with a halberd who has turned away and bowed his head. Behind the soldier on the right edge of the picture are at least four other soldiers who are also facing the viewer. Finally, apparently because of the better view of the scene, six figures are depicted on the base of the column in the right background, a seventh figure with a bare upper body is just climbing up to it.

In the foreground to the left are a number of weapons and items of equipment, including a drum, a suit of armor and a collar , an iron shield with a protruding thorn in an eight-pointed wavy star in the middle instead of a face, a halberd , several pikes and an officer's baton. It is not clear whether the objects belong to the three people in front of the prince.

The light falls from the top left and highlights the prince and the soldiers standing to his left, the three figures standing or kneeling in front of the prince and the pile of weapons and equipment in the left foreground, while the less significant figures in the middle and background Get less light or step back in the shade.

At the lower right edge of the picture, the painting is in dark brown color with R f. 1626 or RH. 1626 (for Rembrandt fecit 1626 , German: "Rembrandt hat es 1625", or Rembrandt Harmensz. 1626 ) monogrammed and dated. The monogram RH corresponds to the other Rembrandt signatures from 1626. The remains of this signature are considered authentic.

Technical inspection

The painting has the format 90.1 × 121.3 cm and is painted with oil paint on a six to twelve millimeter thick oak panel with horizontal grain. This format largely corresponds to that of the stoning of St. Stephen , which also contains a hidden self-portrait of Rembrandt and the portrait of his friend and colleague Jan Lievens . The base consists of three boards that are 31.6 cm, 28.9 cm and 29.7 cm wide from top to bottom. The connection between the two upper boards has been reinforced by rhombic pieces of wood glued on the back, all four edges of the board are bevelled on the back. During the dendrochronological examination of the board, a dating could only be carried out for the upper and lower boards; they come from the same tree that was felled in the north of the Netherlands in 1611 at the earliest.

The light brown primer shows through in some places, especially on an approximately one centimeter wide strip around the painting that was only partially painted. It consists of two layers, the lower one is lime bound in glue. The top layer consists of white lead bound in oil with a small amount of brown pigment , probably ocher or umber . The paint layer is in very good condition, only a few areas with very thin paint have suffered a little. In some places with a thick layer of paint there is irregular fine craquelure .

Rembrandt's self-portrait

Detail of the history painting , self-portrait of Rembrandt

Rembrandt painted, drew or etched more than 20 of his more than 75 known self-portraits by 1631. In the Stoning of St. Stephen , he brought a small self-portrait among the audience for the first time, which is distorted with horror at the gruesome sight of the stoning. These hidden self-portraits were initially only secondary characters, often for the experimental representation of different states of mind, in order to learn the representation of deep emotions for his history pictures.

Shortly after his discovery, Rembrandt's self-portrait was also identified in his history painting as the young observer standing under an archway with his face behind the prince's raised scepter. To the left of it, between the prince and his officer, there is another figure in the background, with a feathered beret and the same facial features. In the literature, when it comes to stating that the figure behind the scepter is a self-portrait of Rembrandt, the resemblance to clearly identified self-portraits is cited. Examples of this are an etching and two paintings from 1629. After the stoning from the previous year, this is the oldest surviving self-portrait of Rembrandt with a naturalistic representation.

Attempts at interpretation

David hands Goliath's head over to King Saul , Rembrandt van Rijn, 1627, oil on panel, 38.2 × 31.0 cm, Basel Public Art Collection

For almost a century, art historical research has not succeeded in conclusively interpreting the depicted scene and giving the painting a generally accepted title. There have been large numbers of attempts to do this, and they have also produced a large number of interpretations:

Old testament

Antiquity

  • The judgment on the son of Titus Manlius Torquatus . In 1925 Wilhelm Reinhold Valentiner interpreted the painting in this way. Wolfgang Stechow explained the weapons in the left foreground as the prey of the disobedient Titus and also mentioned the processing of the motif by Rembrandt's student Ferdinand Bol in 1660, which shows the moment after Titus was beheaded.
  • Brutus's judgment on his sons. Wolfgang Stechow suggested this interpretation in 1929, with which a motif popular in the early 17th century was implemented. The first Roman consul Brutus sentenced his sons Titus and Tiberius, who had conspired against him, to death.
  • The goodness of Titus . The title was mentioned by Frederik Schmidt Degener in 1941 in response to earlier suggestions.
  • Coriolanus as Conqueror : With this title the painting by Egbert Pelinck was listed in the catalog of Museum De Lakenhal in1949without further explanation.
  • Palamedes before Agamemnon . With the condemnation of the Palamedes to be stoned, this interpretation opens upa further parallel to Rembrandt's stoning of St. Stephen . This interpretation wasproposedas early as 1953 by the Dutch art historian Jan Gerrit van Gelder (more detailed in the section below).
  • Cerialis pardons the Roman soldiers who had allied themselves with the Batavians . The suggestion was made by Kurt Bauch in his 1960 monograph on the young Rembrandt. Rembrandt must have known the table work The War of the Romans against the Batavians by Antonio Tempesta , published in 1612. But it is doubtful that the scene of the pardon served as a template for the history painting.
  • The goodness of Alexander the Great . As one of the more recent interpretations, in 1987 Josua Bruyn suggested Alexander's grace for the three brothers Amyntas , Simmias and Attalus . The history painting is based on the Alexander biography of the Roman historian Quintus Curtius Rufus . The brothers were suspected of being involved in the Dimnos conspiracy to murder Alexander, but were pardoned after Amyntas' convincing defense speech.
  • The goodness of Claudius Civilis . The British historian Simon Schama made this proposal in 1999, with which he provides an alternative to Kurt Bauch's proposal that Cerialis pardon Roman soldiers.
  • The Horatic triplets before Tullus or The Readiness of the Horatians . According to this interpretation, published in 1999, the painting shows the three brothers from the Horatian dynasty before the legendary Roman king Tullus Hostilius, before they go into battle against the Curiatian triplets on behalf of his army .
  • The injustice of the Piso . It was not until 2011 that this interpretation of the history painting was published, which addresses the three unjust death sentences of the Roman politician Gnaeus Calpurnius Piso, as they were described by Seneca in his work De ira ( On Anger ). While hardly anyone knows this writing today, it was often read and received in the early 17th century. The Rembrandt pupil and art theorist Samuel van Hoogstraten cited De ira five times in his introduction to the high school of painting ( Dutch Inleyding tot de Hooge Schoole der Schilderkonst ) in 1678 .
  • Orestes and Pylades before King Thoas in Tauris . This proposal by the Dutch art historian Peter Hecht dates back to 2019.

Middle Ages and early modern times

  • Liudolf and Konrad the Red before Emperor Otto I. Thisinterpretation proposedby Klaus Demus in 1977 does not explain all the figures and does not correspond to the type of historicization that distinguished Rembrandt.
  • The generosity of Emperor Ferdinand II. The interpretation was published in an essay in 1991 by Roelof van Straten (see section below).
  • The grandmother of Emperor Charles V
  • Implementation of some interpretations by other artists

  • Consul Titus Manlius Torquatus has his son beheaded , Ferdinand Bol , 1661–1663, oil on canvas, 218 × 232 cm, Het Scheepvaartmuseum , Amsterdam

  • Cerialis pardons the Roman soldiers who had allied themselves with the Batavians , etching by Antonio Tempesta , 1612, plate 26 from The War of the Romans against the Batavians

  • The goodness of an emperor , unknown master, ca.1480 , black chalk and ink on paper, 19.3 × 14.3 cm, Museum Boijmans Van Beuningen , Rotterdam

According to the staff of the Rembrandt Research Project , the fact that the scene shows a representation of generosity or mercy, possibly towards a defeated army and its generals, is only a speculation. An in-depth iconographic study was presented in 1991 by Roelof van Straten. In it he rejects all references to the Old Testament and antiquity.

Palamedes before Agamemnon

The art historian Gary Schwartz concludes from the numerous religious motifs in Rembrandt's work that he is one of the most outstanding visual interpreters of the Scriptures. He also highlights his acceptance of assignments from both Protestant and Catholic customers. Depictions such as that of his son Titus as a Franciscan monk ( Rembrandt's son Titus in a monk's habit , 1660, Rijksmuseum Amsterdam ) prove Rembrandt's closeness to Catholicism. The stoning of St. Stephen in 1625 connects Rembrandt with the moderate Reformation, the Remonstrants . A few years before Rembrandt painted the stoning and the history painting, leading representatives of the Remonstrants had been executed or driven out.

The history painting was seen beyond the parallels such as the format and the picture division with the hypothetical title Palamedes before Agamemnon as the counterpart of the stoning of St. Stephen . Both paintings were then commissioned by the Leiden philologist, historian and writer Petrus Scriverius , who adhered to the Remonstrant faith and related the pictures to the dispute between Moritz von Orange and his opponent Johan van Oldenbarnevelt , who was executed in 1619 . In this context it is also significant that Remonstrants were often pelted with stones in the first years after Oldenbarnevelt's execution. The Dutch poet and playwright Joost van den Vondel published his tragedy Palamedes ( Dutch Palamedes often vermoorde onnooselheyd ) in October 1625 . In it, in the form of a Greek fable, he openly portrayed the decapitated Oldenbarnevelt as Palamedes and Moritz as Agamemnon and made massive criticism of the prevailing conditions. The play was soon banned, Vondel had to flee Amsterdam and was later sentenced to a fine of 300 guilders. Rembrandt had contact with Remonstrant circles and probably knew Vondel's Palamedes . Another indication is the mention of two “good large pieces by Rembrandt” ( Dutch twee braave groote stukken van Rembrant ) in the estate of Scriverius, which may have been Stephen and the Palamedes .

Ferdinand II and Albrecht von Wallenstein

In 1991, Roelof van Straten pointed out that the prince's temple crown indicates an emperor, namely one of the Holy Roman Empire . He excludes the depiction of a prince of antiquity, as these were depicted with other attributes such as helmets or laurel wreaths. The figure to the left of the prince can be identified as a general due to its splendid clothing and officer's baton. The weapons piled up in the foreground on the left are to be understood as a symbol of military defeat, so that the scene as a whole represents the mercy of the victorious prince towards the defeated opponent. The oath of one of the soldiers who appeared before the prince is to be understood as an oath of allegiance and the gestures of the other two as submission. Due to the clothing of the figures, Van Straten dates the scene to the first quarter of the 17th century, at the latest 1626. He also bases this late dating on the type of weapons and the depiction of Christian churches in the background, which excludes an Old Testament or classical antique scene .

Van Straten comes to the conclusion that the depicted emperor could be Ferdinand II, known for his generosity, and that his general was Albrecht von Wallenstein . Van Straten sees the man in the yellow doublet standing in the center of the picture as the portrait of an unknown donor. He rejects the representation that this donor could be Petrus Scriverius, and the assumption that the history painting and the stoning of St. Stephen are counterparts.

background

After three and a half years of training with Jacob Isaacsz van Swanenburgh, Rembrandt went to Amsterdam in 1624 to study with Pieter Lastman for half a year . In the history painting , painted only a few years later , the art historian Wilhelm Martin saw Lastman's influence. His colleague BPJ Broos devoted an extensive article to the function of Lastman's Coriolanus and the Roman women as models for Rembrandt's history paintings . The view from below, which Rembrandt used several times in his early work, goes back to Lastman, with which he highlighted individual figures or groups of figures. In his history painting, these are the prince and his military leader, who are also highlighted by the enlarged representation compared to the other figures.

Rembrandt probably purchased large quantities of wooden panels for his workshop, which were often of similar formats. The panel paintings by Rembrandt and his workshop can be divided into groups according to format and type of wood. Often the panels of different paintings come from the same tree, so that temporal relationships can be identified. Of the panel paintings examined, the history painting with the stoning of St. Stephen forms a group of similar formats. The format of the painting, the dating and the depiction of two groups of full figures in front of a building with a city in the background were the reason for a closer look. With the two opposing groups and the opening up of the depth through the diagonal pedestal and the open spaces in the center of the picture and on the right-hand edge, the image composition appears much more mature. While Rembrandt left space in several places for figures to be added later during the stoning , in the history painting he worked his way forward from the background and relied on the opacity of his colors for the figures and picture elements painted later.

The soldier painted around 1630 in the guard room of Rembrandt's pupil Gerrit Dou shows a similar collection of items of equipment as in Rembrandt's history paintings - the drum and the shield with the thorn in the middle in particular have a striking similarity . Dou painted other pictures in which these objects occupy an important place. This is explained by the fact that they were part of Rembrandt's inventory of props, which Dou was able to access as his pupil from 1628 to 1631.

  • Weapons from Rembrandt's prop inventory at Gerrit Dou

  • Soldier in the Guard Room , Gerrit Dou , around 1630, oil on oak, 66 × 51 cm, Szépművészeti Múzeum , Budapest

  • Self-Portrait at the Easel , Gerrit Dou, ca.1629, oil on oak, 66.6 × 50.9 cm, The Leiden Collection , New York City

  • Still life with armor, shield, halberd, sword, leather jacket and drum , Gerrit Dou, around 1630, oil on wood, 31.7 × 46.5 cm, private collection

  • Old man writing in his studio , Gerrit Dou, 1631–1632, oil on panel, 31.5 × 25 cm, private collection

reception

The history painting was first published in the year it was discovered by Cornelis Hofstede de Groot in an article in Burlington Magazine . Since then its authenticity has not been questioned and it was included in all later catalogs of works, for example in 1935 by Abraham Bredius with the number 460. In Kurt Bauch's catalog raisonné of paintings published in 1966, the history painting was listed with the number 96. He was followed by Horst Gerson , who in 1968 assigned the painting No. 1 in his catalog raisonné and listed it again as No. 460 in his revision of Bredius' catalog raisonné. In 1982 the painting was accepted by the Rembrandt Research Project (RRP) with the number A 6 in the first volume of the Corpus of Rembrandt Paintings . At this point in time, the authenticity of the cycle The Five Senses was not considered proven, so the three pictures known at the time were classified as the first three works in group B. Christian Tümpel gave the painting the number 117 in his catalog raisonné, the sixth volume of the Corpus lists it as number 7.

Provenance

The history painting was purchased in 1924 by the London art dealers Asscher, Koetser & Welker as a work from the school of Peter Paul Rubens . It was soon recognized as one of Rembrandt's youthful works and entered the collection of JJM Chabot. From 1925 it was exhibited in the Centraal Museum Utrecht . On September 1, 1942, the Chabot collection in The Hague was auctioned by the van Marle & Bignell auction house, the history painting , as the grace of Emperor Titus ( Dutch De clementie van keizer Titus ), achieved more than half of the top piece with 300,000 guilders a total of 586,050 guilders redeemed. The buyer was B. Mensing from Amsterdam, who transferred the painting to Erhard Göpel in The Hague on the same day . Since February 1942, Göpel had been the representative of the special order Linz with the Reich Commissioner in the occupied Dutch territories and was involved in the theft of cultural goods for the planned “Führer Museum”. The history painting came to Germany and was seized there after the Second World War .

After returning to the Netherlands, the picture was initially owned by the Stichting Nederlands Kunstbezit in The Hague, which acted in trust and was supposed to ensure that art treasures stolen from the Netherlands were returned to their rightful owners. Since it was assumed that Chabot had sold his collection voluntarily, the painting became the property of the Dutch state. This compensated for the financing of such art transactions by the Dutch State Bank, to which the occupation authorities had obliged them. Today the painting is owned by the Rijksdienst voor het Cultureel Erfgoed . The history painting has been on permanent loan to Museum De Lakenhal in Leiden since 1948 .

Exhibitions (chronological)

  • Mauritshuis , The Hague, Netherlands. Exhibition Herwonnen Kunstbezit (German: Back Got art collection ), 16 March to May 1946, catalog no. 46.
  • Museum De Lakenhal , Leiden, Netherlands. Exhibition Rembrandt als leermeester (German: Rembrandt als Lehrmeister ), June 1 to September 1, 1956, catalog no. 4th
  • Museum De Lakenhal, Leiden, Netherlands. Exhibition Geschildert tot Leiden anno 1626 (German: Gemalt zu Leiden anno 1626 ), November 18, 1976 to January 9, 1977, catalog no. P. 26.
  • National Gallery of Art , Washington, DC, USA. Exhibition Gods, saints and heroes (German: Götter, Heilige und Helden ), November 2, 1980 to January 4, 1981, catalog no. 25th
  • Detroit Institute of Arts , Michigan, USA. Exhibition Gods, saints and heroes (German: Götter, Heilige und Helden ), February 16 to April 19, 1981, catalog no. 25th
  • Rijksmuseum Amsterdam , Netherlands. Exhibition God en de goden (German: Gott und die Götter ), May 16 to July 19, 1981, catalog no. 25th
  • Museum De Lakenhal, Leiden, Netherlands. Exhibition Het aanzien van de kunstenaar. Kunstenaarsportretten uit de 16de-20ste eeuw (German: The face of the artist. Artist portraits from the 16th to 20th centuries ), November 16, 1985 to January 5, 1986, catalog p. 4–5.
  • Museum De Lakenhal, Leiden, Netherlands. Exhibition Rembrandt & Lievens in Leiden: 'een jong en edel schildersduo' (German: Rembrandt & Lievens in Leiden: "a young, noble artist duo" ), December 4, 1991 to March 1, 1992, catalog.
  • National Gallery , London, UK. Exhibition Rembrandt by himself , June 9 to September 5, 1999, catalog no. 1.
  • Mauritshuis, The Hague, Netherlands. Exhibition Rembrandt zelf , September 25, 1999 to January 9, 2000, catalog no . 1.
  • Gemäldegalerie Alte Meister , Kassel, Germany. Exhibition The young Rembrandt. Mystery of its beginnings , November 3, 2001 to January 27, 2002, catalog no. 7th
  • Rembrandthuis , Amsterdam, Netherlands. Exhibition Het mysterie van de jonge Rembrandt (German: The secret of young Rembrandt ), February 20 to May 26, 2002, catalog no. 7th
  • Gemäldegalerie , Berlin, Germany. Rembrandt exhibition . Genius in Search , August 4, 2006 to November 5, 2006, catalog no. 1.
  • Museum De Lakenhal, Leiden, Netherlands. Exhibition Stad van Verf (German: City of Color ), January 2 to May 29, 2010.
  • Museum De Lakenhal, Leiden, Netherlands. Exhibition Jonge Rembrandt - Rising Star (German: The young Rembrandt - Rising Star ), November 2, 2019 to February 9, 2020.
  • Ashmolean Museum, Oxford. Exhibition Young Rembrandt - Rising Star (German: The young Rembrandt - Rising Star ), February 27 to June 7, 2020.

literature

Stichting Foundation Rembrandt Research Project (Ed.): A Corpus of Rembrandt Paintings. I. 1625-1631. Martinus Nijhoff, Den Haag / Boston / London 1982, ISBN 978-94-009-7519-4 , Work A 6 History painting (Subject unidentified) , pp. 104–113.

Web links

Commons : History  painting with self-portrait of the painter - collection of images, videos and audio files

Individual evidence

  1. ↑ a b c Johan Zwakenberg: Het historiestuk (1626) van Rembrandt te Leiden. Een bronnenonderzoek . In: Jaarboekje voor geschiedenis en oudheidkunde van Leiden en omstreken. Orgaan van de Vereeniging Oud-Leiden 2010, Volume 102, pp. 40-59, ZDB -ID 443485-7 , digitizedhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Fwww.oudleiden.nl%2Fpublicaties%2Fjaarboekje%2F102-2010%2Ffile~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D .
  2. ^ Stichting Foundation Rembrandt Research Project (ed.): A Corpus of Rembrandt Paintings. I., p. 107.
  3. ↑ a b Stichting Foundation Rembrandt Research Project (Ed.): A Corpus of Rembrandt Paintings. I., pp. 105-106.
  4. ↑ Michael Parmentier: The painted me. About Rembrandt's self-images. In: Zeitschrift für Pädagogik 1997, vol. 43, no. 5, pp. 721–737, digitizedhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Fwww.pedocs.de%2Fvolltexte%2F2015%2F7003%2Fpdf%2FZfPaed_1997_5_Parmentier_Das_gemalte_Ich.pdf~GB%3D~DAZ%3ZD% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D .
  5. ^ A b Ernst van de Wetering: Rembrandt's self-portraits: problems of authenticity and function. In: Stichting Foundation Rembrandt Research Project (Ed.): A Corpus of Rembrandt Paintings. IV. The self-portraits. Springer, Dordrecht 2005, ISBN 1-4020-3280-3 , pp. 89-317, in particular pp. 178-183.
  6. ↑ a b c Stichting Foundation Rembrandt Research Project (Ed.): A Corpus of Rembrandt Paintings. I., p. 112.
  7. ↑ Cornelis Hofstede de Groot: Rembrandt's Youthful Works . In: The Burlington Magazine 1924, Volume 44, No. 252, pp. 124, 126-127, JSTOR 862036 .
  8. ↑ a b c d e Stichting Foundation Rembrandt Research Project (Ed.): A Corpus of Rembrandt Paintings. VI. Rembrandt's Paintings Revisited. A Complete Survey. Springer Science + Business Media, Dordrecht 2015, ISBN 978-94-017-9173-1 , Werk 7, p. 482.
  9. ^ Werner Sumowski: Supplements to the Rembrandt Year 1956 . In: Scientific journal of the Humboldt University of Berlin, social and linguistic series 1957–1958, Volume 7, pp. 223–247, ZDB -ID 504710-9 (not viewed).
  10. ↑ a b Wolfgang Stechow: Roman court representations of Rembrandt and Bol . In: Oud Holland - Journal for Art of the Low Countries 1929, Volume 46, No. 1, pp. 134-139, doi: 10.1163 / 187501729X00190 .
  11. ↑ a b Wilhelm Martin: Uit Rembrandt's Leidsche Jaren . In: Jaarboek van de Maatschappij der Nederlandsche Letterkunde te Leiden 1936–1937, pp. 51–62, digitizedhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Fwww.dbnl.org%2Ftekst%2F_jaa003193701_01%2F_jaa003193701_01.pdf~GB%3D~IA%3D~MDZ%3D%0A~doppels%3D 3D ~ LT% 3D ~ PUR% 3D .
  12. ↑ a b Abraham Bredius: Rembrandt. Schilderijen. W. de Haan, Utrecht 1935, digitized version, Heidelberg University Library . German: Rembrandt. Painting. Phaidon-Verlag, Vienna 1935. English: The Paintings of Rembrandt. London 1937, plant no.460.
  13. ^ Frederik Schmidt-Degener: Rembrandt's Clementie van Keizer Titus . In: Oud Holland - Journal for Art of the Low Countries 1941, Volume 58, No. 1, pp. 106-111, doi: 10.1163 / 187501741X00141 .
  14. ↑ Gerard Knuttel: Rembrandt's Earliest Works . In: The Burlington Magazine 1955, Vol. 97, No. 623, pp. 44-47, p. 49, JSTOR 871508 .
  15. ↑ a b SAC Dudok van Heel: Mr. Joannes Wtenbogaert (1608-1680). A man uit remonstrants milieu en Rembrandt van Rijn . In: Jaarboek Amstelodamum 1978, Volume 70, pp. 146-169, in particular pp. 167-169, digitizedhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Famstelodamum-archief.nl%2Fresources%2F1978_jb_70.pdf~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided%3D~ LT% 3D ~ PUR% 3D .
  16. ↑ a b Gabriele Groschner: The young Rembrandt in Leiden. Gabriele Groschner (Ed.): Rembrandt. Under the paint. Residenzgalerie Salzburg, November 13, 2016 - June 26, 2017. Residenzgalerie Salzburg, Salzburg 2016, ISBN 978-3-901443-43-5 , pp. 13–39.
  17. ^ Ernst van de Wetering: De jonge Rembrandt aan het werk . In: Oud Holland - Journal for Art of the Low Countries 1977, Volume 91, No. 1-2, pp. 27-60, doi: 10.1163 / 187501777X00070 .
  18. ↑ Kurt Bauch: The early Rembrandt and his time. Studies on the historical significance of his early style . Mann, Berlin 1960 (not viewed).
  19. ↑ a b BPJ Broos: Rembrandt and Lastman's "Coriolanus". The History Piece in 17th-Century Theory and Practice. In: Simiolus. Netherlands Quarterly for the History of Art 1975, Vol. 8, No. 4, pp. 199-228, doi: 10.2307 / 3780385 .
  20. ↑ Josua Bruyn: Nog een suggestie voor het onderwerp van Rembrandt's historiestuk te Leiden: De grootmoedigheid van Alexander. In: Oud Holland - Journal for Art of the Low Countries 1987, Volume 101, No. 2, pp. 89-94, doi: 10.1163 / 187501787X00376 .
  21. ↑ Jeroen Stumpel: A twelfth attempt: the subject of Rembrandt's History in Leiden piece . In: Simiolus. Netherlands Quarterly for the History of Art 2000-2001, Volume 28, No. 1/2, pp. 44-50, JSTOR 3780958 .
  22. ^ Paul Taylor: Rembrandt's Injustice of Piso . In: Oud Holland - Journal for Art of the Low Countries 2011, Volume 124, No. 2–3, pp. 112–118, doi: 10.1163 / 187501711798264247 .
  23. ↑ Peter Hecht: Could this be it? Rembrandt's Leiden history painting of 1626 depicts Orestes and Pylades before King Thoas in Tauris . In: Simiolus. Netherlands quarterly for the history of art 2019, Volume 40, No. 4, pp. 292–301, ZDB -ID 128521-X (not viewed).
  24. ^ A b c d e Roelof van Straten: Rembrandt's "Leidse historiestuk". An iconographic standpoint . In: Jaarboekje voor geschiedenis en oudheidkunde van Leiden en omstreken. Orgaan van de Vereeniging Oud-Leiden 1991, Volume 83, pp. 89-107, ZDB -ID 443485-7 , digitizedhttp: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fwww.oudleiden.nl%2Fpdf1%2F1991_09.pdf~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided%3D~ LT% 3D ~ PUR% 3D .
  25. ^ Gary Schwartz : The Meanings of Rembrandt . In: Ildikó Ember et al. (Ed.): Rembrandt and the Dutch Golden Age . Exhibition catalog, Szépművészeti Múzeum , Budapest, October 30, 2014 - February 15, 2015, ISBN 978-615-5304-34-7 , pp. 36–57.
  26. ^ SAC Dudok van Heel: Het maecenaat de Graeff en Rembrandt II . In: Amstelodamum. Maandblad voor de kennis van Amsterdam 1969, volume 56, pp. 249-253, digitizedhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Famstelodamum-archief.nl%2Fresources%2F1969_mb_56.pdf~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided%3D~ LT% 3D ~ PUR% 3D .
  27. ^ Wilhelm Martin: Een onbekend schilderij van Pieter Lastman . In: Oud Holland - Journal for Art of the Low Countries 1925, Volume 42, No. 1, pp. 47-60, doi: 10.1163 / 187501725X00086 .
  28. ↑ Herwig Guratzsch: The lower view as a design element in Rembrandt's early work . In: Oud Holland - Journal for Art of the Low Countries 1975, Volume 89, No. 4, pp. 247-265, doi: 10.1163 / 187501775X00153 .
  29. ^ Stichting Foundation Rembrandt Research Project (ed.): A Corpus of Rembrandt Paintings. I., pp. 11-17.
  30. ^ Stichting Foundation Rembrandt Research Project (ed.): A Corpus of Rembrandt Paintings. I., pp. 110-112.
  31. ↑ Kunstauktionen van Ham (Ed.): 304th Auction of Old and New Masters. November 18, 2011 , lot 68, Gerrit Dou. Still life with armor, shield, halberd, sword, leather jacket and drum , pp. 48–49, digitizedhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Fwww.van-ham.com%2Ffileadmin%2FRedaktion%2FAuktionen%2FKatalog_PDF%2FA304_Alte%2520Kunst.pdf~GB%3D~IA%3D~MDZ%3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D .
  32. ↑ Kurt Bauch : Rembrandt. Painting. Walter de Gruyter, Berlin 1966, Reprint 2018, ISBN 978-3-11-005007-3 , No. 96.
  33. ^ Horst Gerson: Rembrandt paintings. Meulenhoff International, Amsterdam 1968. German: Rembrandt paintings. Complete works. Vollmer, Wiesbaden 1968, work no.1.
  34. ↑ Abraham Bredius: Rembrandt. The complete edition of the paintings. Third edition. Revised by Horst Gerson. Phaidon, London 1969, ISBN 0-7148-1341-9 , work no.531A.
  35. ^ Stichting Foundation Rembrandt Research Project (ed.): A Corpus of Rembrandt Paintings. I., pp. 399-415.
  36. ^ Christian Tümpel : Rembrandt. Myth and Method. With contributions by Astrid Tümpel . Mercatorfonds, Antwerp 1986, ISBN 90-6153-165-9 , work 117.
  37. ^ Centraal Museum Utrecht (Ed.): Catalogus der Schilderijen . Centraal Museum Utrecht 1933, digitizedhttp: //vorlage_digitalisat.test/1%3D~GB%3D~IA%3Dcatalogusderschi00cent~MDZ%3D%0A~SZ%3D182~ double-sided%3D~LT%3D~PUR%3D .
  38. ↑ Directie van Marle & Birell (eds.): Belangrijke Veiling van kostbare oude schilderijen uit de collectie van den heer JJM Chabot , lot 24, pp. 15–16, plates VI – VII, digitized, UB Heidelberg .
  39. ↑ a b Stichting Foundation Rembrandt Research Project (Ed.): A Corpus of Rembrandt Paintings. I., p. 113.
  40. ↑ a b Rembrandt. History Painting, 1626 gedateerd on the website of the RKD - Nederlands Instituut voor Kunstgeschiedenis , accessed on October 4, 2019.
  41. ↑ REO Ekkart et al. (Ed.): Herkomst zocht. Deelrapportage IV, November 2002 . Ministerie van Onderwijs, Cultuur en Wetenschap, Zoetermeer 2002, pp. 159 and 267, digitizedhttp: //vorlage_digitalisat.test/1%3Dhttps%3A%2F%2Fwww.staal.bz%2FBooks%2FBoek-1%2FRS%2FNoten%2FRapporten-WO-II%2FEkkart%2FEkkart-Nov-02-geen-pic. pdf ~ GB% 3D ~ IA% 3D ~ MDZ% 3D% 0A ~ SZ% 3D ~ double-sided% 3D ~ LT% 3D ~ PUR% 3D .
  42. ↑ Horst Gerson: "Herwonnen Kunstbezit" ( "Art Treasures Regained") - Exhibition at the Mauritshuis, the Hague . In: The Burlington Magazine 1946, Volume 88, No. 518, pp. 126-124 and p. 127, JSTOR 869269 .