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Wien, KUNSTHISTORISCHES MUSEUM: “The Painter in His Studio.”
Boston, GARDNER COLLECTION: “The Concert.”
Cincinnati, EDWARDS COLLECTION: “Portrait of a Woman.”
Dresden, STATE PICTURE GALLERY: “The Young Courtesan.”
The Hague, MAURITSHUIS: “View of Delft,” “Head of a Young Girl.”
The Hague, RIJYKSMUSEUM: “The Love Letter,” “A Girl Reading a Letter,” “A Maidservant Pouring Milk.”
London, BEIT COLLECTION: “A Love Letter.”
London, NATIONAL GALLERY: “A Family Group,” “A Lady at a Spinet.”
London, WALLACE COLLECTION: “A Boy with Pomegranates.”
London, WINSDSOR CASTLE: “Lady and Gentleman at a Spinet.”
New York, FRICK COLLECTION: “The Soldiers and the Laughing Girl,” “A Lady and a Maidservant,” “The Music Lesson.”
New York, METROPOLITAN MUSEUM OF ART: “Allegory of the New Testament,” “A Lady with a Lute,” “A Young Lady Opening a Casement,” “A Young Woman with a Water Jug,” “A Girl Asleep.”
New York, PRIVATE COLLECTIONS AND SALES GALLERIES: Several examples.
Philadelphia, PRIVATE COLLECTIONS: Several examples.
Washington, UNITED STATES NATIONAL GALLERY OF ART: “The Smiling Girl,” “The Lace Maker,” “The Girl in the Red Hat.”
Amsterdam, RIJKSMUSEUM: “The Night Watch,” “The Syndics,” “The Jewish Bride.”
Baltimore, EPSTEIN COLLECTION: “Portrait of an Old Man.”
Baltimore, WALTERS COLLECTION: “Portrait of Hendrickje Stoeffels.”
Boston, GARDNER COLLECTION: “Self-Portrait,”"Landscape with Obelisk,”"Christ and His Disciples in the Storm,”"A Young Couple.”
Brooklyn, MUSEUM: “The Rabbi,” “Portrait of Rembrandt’s Father.”
Cambridge, FOGG ART MUSEUM: “Portrait of an Old Man.”
Chestnut Hill, Mass., PAINE COLLECTION: “Portrait of Rembrandt’s Sister.”
Chicago, ART INSTITUTE: “Christ Washing the Disciples’ Feet,” “Portrait of a Young Girl,” “Portrait of Rembrandt’s Father.”
Cincinnati, INSTITUTE OF FINE ARTS: “Young Man Rising from His Chair.”
Cincinnati, MUSEUM ASSOCIATION: “Portrait of a Young Girl.”
Detroit, INSTITUTE OF ARTS: “Head of Christ,” “The Salutation,” “Portrait of an Old Lady.”
Dresden, GALLERY: “Portrait of Saskia.”
Glasgow, KELVINGROVE ART GALLERY: “Man in Armor.”
The Hague, MAURITSHUIS: “The Anatomy Lesson,” “David Playing before Saul.”
Indianapolis, CLOWES COLLECTION: “An Old Man in a Tall FurEdged Cap.”
Kansas City, NELSON GALLERY: “Portrait of a Boy.”
Leningrad, HERMITAGE: “Abraham with the Three Angels,” “Danaë.”
London, BRITISH MUSEUM: “Christ Healing the Sick,” “The Three Trees.”
London, NATIONAL GALLERY: “Portrait of an Old Woman,” “Portrait of a Man,” “SelfPortrait,” “The Adoration of the Shepherds,” “A Woman Bathing.”
Montreal, VAN HORNE COLLECTION: “Portrait of a Young Rabbi.”
Munich, GALLERY: “The Descent from the Cross.”
New York, FRICK COLLECTION: “Self-Portrait,”"Polish Rider,” “A Young Painter,”"Old Woman with a Bible.”
New York, HISTORICAL SOCIETY: “Portrait of a Man.”
New York, METROPOLITAN MUSEUM OF ART: “Portrait of a Man,” “Portrait of Titus,” “Self-Portrait,” “Old Woman Cutting Her Nails,” and many others.
Paris, LOUVRE: “The Disciples at Emmaus,” “Woman Bathing.”
Rochester, UNIVERSITY: “Portrait of a Young Man.”
Sarasota, RINGLING MUSEUM: “Lamentation over Christ,”"An Evangelist,”"Portrait of a Lady.”
Toledo, MUSEUM OF ART: “SelfPortrait.”
Washington, CORCORAN ART GALLERY: “Portrait of a Gentleman.”
Washington, SMITHSONIAN INSTITUTION NATIONAL COLLECTION OF FINE ARTS: “Portrait of a Man Wearing a Large Hat.”
Washington, UNITED STATES NATIONAL GALLERY OF ART: “A Young Man with a Pink,” “Joseph Before Potiphar,” “Old Lady with a Bible,” “Lucretia Stabbing Herself,” and several other examples.
The solid, serious business men of Rembrandt’s Holland, enjoying the fruits of a vast commercial expansion, lived in a world of things that could be touched, and bought and sold. When they had acquired a position in life which commanded the respect of the community, they wished, as all men do, to have a permanent record of their success. If they had no special prominence they thought in terms of their participation in some social or business group.
On the whole their mentality was not unlike that of a Chamber of Commerce today in a small American city. Dutch society in the seventeenth century was well integrated; men’s common interests brought them together in trade associations and fraternal orders. And frequently, after a new election of officers, they commissioned a group portrait, to be placed on the walls of a clubhouse or in the offices of a trade association.
Thus it was that the five syndics of the Amsterdam drapers’ guild came to Rembrandt to be painted. Rembrandt was flourishing then; he was fashionable; to be painted by him was an expression of personal substance and social importance.
These patrons were satisfied with the painting; they were pleased to see themselves pictured with so much dignity and seriousness in their daily job of work. This is no doubt what they wanted in the picture and what they sought when they posed themselves the way they did and assumed an expression of dead seriousness and intense preoccupation with their small world of commerce.
Rembrandt was born at Leyden in 1606, and his family enjoyed enough prosperity to permit him to choose a career. Academic life at the University of Leyden was not congenial. At the age of fourteen he was apprenticed to a Leyden painter named Swanenburg and later to Pieter Lastman, from whom Rembrandt learned the craft without absorbing very much of his master’s artistic formulas.
By 1632 his reputation was so well established that he found it expedient to move to Amsterdam. Here commissions awaited him and great demands were made upon his activity. He founded a studio, accepted pupils and assistants, and soon became Amsterdam’s most flourishing painter. It was then that he married Saskia Uylenburch, daughter of a wealthy and important family.
Saskia died in 1642. It had been around her that Rembrandt’s life revolved, and it was then that he began to drift away from the life of his times. The vagaries of his subsequent career–living in common law with the patient, understanding Hendrickje Stoeffels, his financial failure, and abject poverty–have been told and retold with perhaps too much melodrama and more with the adornment of legend than of fact.
As Rembrandt’s prosperity and popularity diminished in the later years of his life, the quality of his art improved. The sweep of his brush became broader, his psychological insights became more penetrating, his sense of the dramatic more acute. His later painting was neither understood nor appreciated by his contemporaries; in the strictest sense it should be interpreted as a personal revolt against their canons of taste. /div