339 Latest Rembrandt

Rembrandt’s last dated drawing and the painting that was on his easel when he died both depict the same subject – Simeon with the Christ child in the Temple – in much the same way. In honor of the memorable exhibition Late Rembrandt Schwartz publishes some thoughts on these exceptional works.


Continue reading “339 Latest Rembrandt”

338 The young Walter Liedtke

On Tuesday evening, 3 February 2015, a commuter train from Grand Central Station to Westchester County and Connecticut crashed into an automobile on a crossing in Valhalla, New York. Of the more than 600 passengers in the train, six in the first car were killed in a fire caused by the crash. Among them was Walter Liedtke, a friend and colleague of Gary Schwartz. With their first exchange of letters. Continue reading “338 The young Walter Liedtke”

337 Here’s to Vincent and Theo, Anna, Eugène and Octave

The legendary single sale of a painting by Vincent van Gogh in his lifetime is not the art market discovery it is usually taken to be. It has a rich and moving background involving a cast of admirable characters, not least of them Henri Toulouse-Lautrec, who in Brussels challenged a vilifier of van Gogh to a duel. Continue reading “337 Here’s to Vincent and Theo, Anna, Eugène and Octave”

43 The Langbehn virus

In 1890 the fanatical cultural pessimist Julius Langbehn succeeded in convincing the German people that Rembrandt was not only one of them, but the best German of all. Rembrandt’s individuality and spirituality deserved to be taken as a model for a nation diseased by the degeneracy of Jews, journalists and academics. Art historians thought this was perfectly fine. Continue reading “43 The Langbehn virus”

123 The love of three Oranges

An exhibition at the Stedelijk Museum curated by Queen Beatrix gives rise to a comparison of her choices and those of her predecessors, Stadholder Frederik Hendrik in the seventeenth century and King Willem II in the nineteenth. The comparison is limited to the ratio between artists from the northern and southern Netherlands. The results are striking. (January 2001) Continue reading “123 The love of three Oranges”

326 Antwerp and Houghton Hall rehung

Three spectacular current exhibitions set out to restore the look and content of past displays of art. Antwerp Cathedral in the sixteenth century, an Antwerp merchant’s house in the seventeenth and the greatest English collection of the eighteenth have been endowed with their historical look and contents. Schwartz is deeply content. Continue reading “326 Antwerp and Houghton Hall rehung”

174 Shoot the piano player’s girlfriend

The source of François Truffaut’s movie Shoot the piano player has never been properly identified. In 2003 Schwartz revealed the film’s debt, via the novel by David Goodis that was Truffaut’s immediate inspiration, to Joseph Conrad’s immortal Victory. Ten years later, his discovery still ignored by the world, he sends it off once more. The P.S. predicted the onset of the debt crisis five years before the fall of Lehman Brothers. Continue reading “174 Shoot the piano player’s girlfriend”

Core list of Rembrandt drawings, section 8:
related to portrait,figure and genre etchings

22 drawings, related to
19 etchings

For an explanation of the nature of this list, see Schwartzlist 301



Rembrandt, Standing beggar in lost profile, ca. 1628
Related to etching of about 1629 (Bartsch 162)
Amsterdam, Rijksmuseum
References: Benesch 30. Schatborn 1985, nr. 2. Bevers et al. 1991, nr. 1. Not MRK 2010


Rembrandt, Self-portrait with open mouth, ca. 1628-29
Related to several paintings and etchings, most closely the etching Bartsch 13, dated 1630
London, British Museum
References: Benesch 53. Royalton-Kisch 1991, nr. 1


Rembrandt, Self-portrait, ca. 1629
Related to several paintings and drawings, most closely etching Bartsch 338, dated 1629
Amsterdam, Rijksmuseum
References: Benesch 54. Schatborn 1985, nr. 1. Not MRK 2010


Rembrandt, Seated old man, ca. 1630
Related to several etchings of the same subject, especially Bartsch 325, dated 1630
Stockholm, Nationalmuseum
References: Benesch 38. Magnusson 1992, nr. 131. Not MRK 2010


Rembrandt, Bust of a bearded old man, ca. 1631
Related to several etchings of the same subject, mainly Bartsch 315, dated 1631
Paris, Louvre
References: Benesch 39. Hinterding 2008, sub nr. 231. Not. MRK 2010


Rembrandt, Violin player and woman, ca. 1631
Related to etching of beggar playing violin, dated 1631 (Bartsch 138)
Berlin, Kuperstichkabinett
References: Benesch 232. Bevers 2006, nr. 24. Not MRK 2010


 

Rembrandt, Self-portrait, ca. 1633
Related to self-portrait etching of 1633
Marseille, Musée des Beaux-Arts
References: Benesch 430. A corpus of Rembrandt paintings, vol. 4, p. 146. Not MRK 2010


Rembrandt, Self-portrait, ca. 1635-38
Related to etched self-portrait Bartsch 2 of about the same time as well as other self-portrait etchings. The drawing is thought to postdate the etching. This is in itself reason enough to doubt the wisdom of restricting the core list of Rembrandt drawings to sheets that can be called preparatory or preliminary drawings
Washington, National Gallery of Art
References: Benesch 437. Exhib. cat. Rembrandt by himself 1999, nr. 45. Not MRK 2010


Rembrandt, Seated woman with a rolled-up letter, ca. 1635
Related to etching called The great Jewish bride, dated 1635
Stockholm, Nationalmuseum
References: Benesch 202. Magnusson 1992, nr. 138. Not MRK 2010


Rembrandt, Self-portrait, ca. 1636
Related to etched Self-portrait with Saskia, dated 1636 (Bartsch 19)
Berlin, Kupferstichkabinett
References: Benesch 432. Bevers 2006, nr. 17. Not MRK 2010


 

Rembrandt, Four studies of Saskia, two of them with a baby, mid-1630s
Related to several etchings with multiple images of women, Bartsch 365 (dated 1636), 367 and 368 (dated 1637)
Rotterdam, Museum Boijmans Van Beuningen
References: Benesch 360 recto. Giltaij 1988, nr. 10. Not MRK 2010




Rembrandt, Saskia sitting up in bed, ca. 1638
Dresden, Kupferstich-Kabinett
References: Benesch 255. Dittrich and Ketelsen 2006, nr. 103. Not MRK 2010

Rembrandt, Saskia lying in bed, ca. 1638
Oxford, Ashmolean Museum
References: Benesch 281A. Blankert 1997, nr. 82. Lloyd Williams 2001, nr. 42. Hinterding 2008, sub nr. 258. Not MRK 2010

Rembrandt, Sick woman lying in bed, probably Saskia, latter 1630s
Paris, Petit Palais
References: Benesch 283. Lloyd Williams 2001, nr. 46. Not MRK 2010

Rembrandt, Saskia in bed. latter 1630s
London, British Museum
References: Benesch 286. Royalton-Kisch 1992, nr. 19. Hinterding 2008, sub nr. 258. Not MRK 2010

These images belong to a larger group with close mutual ties. The drawings shown here are most often brought into connection with an etching of diverse motifs most recently dated ca. 1638 (Bartsch 369). They are also related to the figure of the dying Virgin in an etching of 1639 (Bartsch 99)


 

Rembrandt, Old man leaning on a stick, latter 1630s
Related to figures in several etchings and paintings, most closely etching Bartsch 133, dated 1639
New York, Metropolitan Museum of Art (Robert Lehman Collection)
References: Benesch 260. Logan 1995, nr. 58. Not MRK 2010


Rembrandt, Sleeping dog, ca. 1640
Related to etching Bartsch 158 of about 1640 and to the dog in the foreground of the painting Joseph telling his dreams (Bredius 504)
Boston, Museum of Fine Arts
References: Benesch 455. Ackley 2003, nr. 54. Not MRK 2010



Rembrandt, Jan Cornelisz Sylvius, ca. 1646
Stockholm, Nationalmuseum
References: Benesch 762a. Magnusson 1992, nr. 148. MRK 2010

Rembrandt, Jan Cornelisz. Sylvius, ca. 1646
London, British Museum
References: Benesch 763. Royalton-Kisch 1992, nr. 46. MRK 2010

Related to the etched portrait of Minister Sylvius, married to a cousin of Saskia’s (Bartsch 280). A third drawing for the print, Benesch 762, is illustrated under Drawings with inscriptions



Rembrandt, Jan Six in hat, ca. 1647
Amsterdam, Amsterdam Historical Museum
References: Benesch 749 verso. Broos 1981, nr. 13. Hinterding et al. 2000, sub nr. 57. MRK 2010

Rembrandt, Jan Six with a dog, ca. 1647
Amsterdam, Six Collection
References: Benesch 767. Hinterding et al. 2000, sub nr. 57. MRK 2010

Related to etched portrait of the sitter, dated 1647 (Bartsch 285). The drawing that was transferred to the plate is preserved in the Six Collection (Benesch 768)


Rembrandt, Lieven Willemsz. van Coppenol, ca. 1658
Related to etching of about 1658 (Bartsch 282)
Budapest, Museum of Fine Arts
References: Benesch 766. Gerszi 2005, nr. 208. MRK 2010