2]   [fig. The positive assessment given to the painting for the sixty years after it appeared at auction in London in 1909, however, came abruptly to an end in 1969 when Horst Gerson wrote that the painting was the work of a pupil. Around 1632 he moved to Amsterdam, quickly establishing himself as the town’s leading artist, specializing in history paintings and portraiture. We also create oil paintings from your photos or print that you like. 293 (“The ‘Descent from the Cross’ by Rembrandt”). 584, responded with surprise that Kurt Bauch, Rembrandt Gemälde (Berlin, 1966), 6, 84, supposed (rightly) that the turbaned figure in the foreground of the painting was overpainted. Wolfgang Stechow, “Rembrandts Darstellungen der Kreuzabnahme,” Jahrbuch der Preussischen Kunstsammlungen 50 (1919): 229, places the painting within the broad tradition of Rembrandt’s paintings, drawings, and etchings. In Van Renesse’s drawing of Doubting Thomas (Staatliche Graphische Sammlung, Munich), Christ’s elongated proportions and anatomical structure are the same as those in the Descent. [3]  [3]The inventory of Rembrandt’s possessions taken on July 25–26, 1656, is listed as document 1656/12 in Walter L. Strauss and Marjon van der Meulen, The Rembrandt Documents (New York, 1979), 353, no. 1972. These devotional qualities are…. The head of the turbaned man was reconstructed in 1992 on the basis of the remnant of painting left from the original image. He reels backwards, mouth open, eyebrows raised in amazement at your startling arrival. This calculation is based on the existing width of the right-hand piece of canvas (about 73 cm) with an addition of about 7 cm for the apparent reduction along the right edge. The evidence suggests that it was initially larger in size, with a composition that resembled that of the Hermitage Descent from the Cross. Closed, Sculpture Garden Etching and engraving, 1633. Finally, the arm of the Virgin was originally illuminated as it is in the Hermitage painting. One such painting is the life-size Lamentation in the John and Mable Ringling Museum of Art, Sarasota, inv. [3] The paint handling varies from rich opaque layers to thin glazes, with complex layering and dramatic brushmarking in light passages. Abraham Bredius, Rembrandt: The Complete Edition of the Paintings, revised by Horst Gerson (London, 1969), 610, no. As far as he was concerned, “the gestures are lame, the expression sentimental and the composition as a whole lacks concentration.” He suggested that the painting may have been executed by a “pupil like B. Fabritius or S. van Hoogstraten.”[4]  [4]Abraham Bredius, Rembrandt: The Complete Edition of the Paintings, revised by Horst Gerson (London, 1969), 610, no. His father, Ludovicus (Lodewijk) Gerardus van Renesse, was a preacher. from the right edge. Van Renesse, about whom very little is known, seems to have been with Rembrandt between 1649 and 1652. This layer has been found in every cross-section with the exception of the neck of the Virgin. ), Dutch 17th Century (Landau i.d. In Rembrandt van Rijn: Rembrandt and Rubens …in a comparison of Rembrandt’s Descent from the Cross (1632/33) with the print after Rubens’s Descent from the Cross that Rembrandt unquestionably used. Another major change was the overpainting of the red cloak of Joseph of Arimathea, which substantially altered the shape of the figure’s body. The differential absorption pattern is useful for examining an object's internal structure as well as for comparing the variation in pigment types.] $125,000. Rembrandt Harmensz. Also evident in the X-radiographs is a vertical seam to the left of center where two canvases have been joined. (Dordrecht, Boston, and London, 1989), 628–630, C49, copy 2. 2, p. 123, vol. 43). Beneath that earlier figure, however, was yet another one: remnants of his black, flat-shaped hat still exist in an underlying paint layer. Walter L. Strauss, 10 vols. Although the signature and date 1651 on the Washington Descent were determined to be later additions and removed during treatment in 1991–1992, the date is not inconsistent with the style of the figures painted over the earlier composition. When these later additions were removed during the treatment of 1991–1992, it was revealed that the paint surface below that figure had been badly abraded. Like other paintings by Rembrandt on Christian subjects, The Descent from the Cross was not intended for a church, as in Protestant Holland places of worship were not decorated with painting or sculpture. It has also been assumed that one of these paintings is the 1634 version in the Hermitage. Walter L. Strauss, 10 vols. The problems of the genesis of the painting as understood at that time were published in Arthur K. Wheelock Jr., “The Art Historian in the Laboratory: Examinations into ... 17th-Century Dutch Painting,” in The Age of Rembrandt: Studies in Seventeenth-Century Dutch Painting, ed. [19]  [19]See G. Falck, “Über einige von Rembrandt übergangene Schülerzeichnungen,” Jahrbuch der Preussischen Kunstsammlungen 45 (1924): 191–200. This reduction is calculated by noting that, with the exception of his left hand, the man who supports Mary in the Hermitage painting was eliminated in the Gallery Descent when the canvas was cut. Rembrandt Harmenszoon van Rijn. Rembrandt utilizes strong contrasts between light and dark, illuminating Christ in heavenly light that shines down from the … Werner Sumowski, Gemälde der Rembrandt-Schüler, 5 vols. The figure of Christ, as well as the old woman at his feet, is reminiscent of comparable figures in The Descent from the Cross. He was succeeded by his elder son, Thomas, 2nd viscount (1746-1824), and then by the viscountess' husband, John, 3rd viscount (1748-1824). The only member of Rembrandt’s workshop they mention as the possible artist is Ferdinand Bol (Dutch, 1616 - 1680). (painter) Rembrandt, who based his 1633 Descent from the Cross for the Passion series on Lucas Vorsterman’s reproductive engraving after Rubens’ altarpiece The Descent from the Cross, now in the Antwerp Cathedral, may have decided to emulate not only Rubens’ composition but also the large scale in which Rubens worked. Josua Bruyn et al. [13]  [13]This calculation is based on the existing width of the right-hand piece of canvas (about 73 cm) with an addition of about 7 cm for the apparent reduction along the right edge. Such a theory, however, seems quite plausible, particularly given the fact that a number of changes do exist between the X-radiograph [see X-radiographyX-radiography A photographic or digital image analysis method that visually records an object's ability to absorb or transmit x-rays. The extraordinary Hermitage Museum in St Petersburg has a fine selection of Rembrandt paintings, including the powerful scene of Descent from the Cross from 1634 This powerful scene was incorporated into several other Rembrandt artworks, but this is the most famous version. It may be that the earlier restorer scraped away the head and shoulders of the turbaned man because he saw evidence of a different figure beneath it. Descent from the Cross. Although slight distortions in thread patterns in the canvas at the top and right indicate that these edges may have been trimmed a small amount, no such scalloping patterns are evident along the left or the bottom, an indication that the canvas has most likely been reduced substantially along these edges. [4] Upon removal of later repaint in 1992, it was determined that the turbaned foreground figure had been painted over another figure that had been intentionally scraped down. Rembrandt, who based his 1633 Descent from the Cross for the Passion series on Lucas Vorsterman’s reproductive engraving after Rubens’ altarpiece The Descent from the Cross, now in the Antwerp Cathedral, may have decided to emulate not only Rubens’ composition but also the large scale in which Rubens worked. 4]   [fig. Just who may have been responsible for the execution is still a matter of some speculation. It also reminds us of the complex conservation issues that often confront our assessments of paintings by Rembrandt and his workshop. Two profiled figures, visible just below the younger figure’s head, were also painted out. Read our full Open Access policy for images. He may well have begun his artistic studies in Leiden, although nothing is known about his apprenticeship. Washington painting would then have been substantially larger than the Hermitage version (the Hermitage painting measures 159.3 x 116.4 cm; the proposed width of the Gallery painting would have been approximately 160 cm, or the double of 80 cm, with a proportional height of about 220 cm). no. 1634. [fig. Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt Paintings, vol. (Landau i.d. Accession Number: 17.37.69 [1] This vertical seam is located 37.9 cm. [8]  [8]While Jakob Rosenberg, Rembrandt, 2 vols. Photographers: Vladimir Terebenin, Leonard Kheifets, Yuri Molodkovets. Jesus' arm is exaggeratedly stretched. These were reconstructed on the basis of the remnants of paint left from the original head. The Descent from the Cross illustrates a group of men taking Christ down from the cross after his crucifixion. It is probable that the painting was cropped on two different occasions, once in the seventeenth century and a second time in the early twentieth century. It was probably at that time that the signature and date were added, and that the head, shoulders, and turban of the figure in the foreground were overpainted. to date (Amsterdam, 1949–), 20:12, no. The Washington painting would then have been substantially larger than the Hermitage version (the Hermitage painting measures 159.3 x 116.4 cm; the proposed width of the Gallery painting would have been approximately 160 cm, or the double of 80 cm, with a proportional height of about 220 cm). Dutch, 1626 - 1680. Despite the date on the painting and the use of a canvas available in 1634 they have concluded that the work could only have been painted around 1640 in Rembrandt’s workshop. The emphasis there on the physical activity of removing Christ’s body from the cross is reinforced by the angular gestures, the strong diagonal shadows on the white shroud, the ungainly position of Christ’s body, and the press of the crowd around the foot of the cross. [18]  [18]For Van Renesse’s life, see Karel Vermeeren, “Constantijn Daniël van Renesse, zijn leven en zijn werken,” De Kroniek van het Rembrandthuis 30 (1978): 3–23, and Werner Sumowski, Gemälde der Rembrandt-Schüler, 5 vols. See also comments in note 5. Rembrandt may have decided that the very large size of the original composition made the work particularly difficult to sell. West Building Slight cusping is visible along the top and right edges, but not at the left or bottom. Indeed, this figure must have been a later addition. In 1984 the attribution of the painting at the National Gallery of Art was changed to “After Rembrandt van Rijn.” The Rembrandt Research Project (RRP) later listed The Descent from the Cross as a copy of the Hermitage painting, the attribution of which they also reject. Despite the different nature of the subject, the manner in which a number of figures in this work have been executed has distinct parallels in The Descent from the Cross (see [fig. This information is taken from a clipping from an unidentified English newspaper, dated July 3, 1909, on file at the Rijksbureau voor Kunsthistorisches Documentatie (RKD). Particularly interesting in relation to the Washington Descent from the Cross is his drawing of the Lamentation of Christ on the Cross. Europe (place of creation) Date. Pfalz, 1983), 4:2469–2470. (Landau i.d. Records of the Parker family of Skirwith Abbey, Warwick Hall, and Newbiggin Hall; Cumbria Record Office, Carlisle; WD PKR, box 4, bundle 18, document 12; copies in NGA curatorial files. 1972. It will also discuss the probability that the painting was treated again prior to being sold in London in 1909. An inscription on the back of a drawing, Daniel in the Lion's Den, in the Museum Boijmans Van Beuningen, Rotterdam (inv. 2166a. Indeed, a comparison of the Hermitage painting and this work demonstrates that profound differences exist between the two works despite their apparent similarities. Pfalz, 1983), 4:2961, no. The information the RRP relates about the painting being transferred onto a new canvas in Russia in 1854 is false. (Landau i.d. The X-radiographs show artist’s changes to the figures supporting Christ’s body, the legs of which were once bent backward to a greater degree. https://www.britannica.com/topic/Descent-from-the-Cross. Around 1650, or shortly thereafter, it was severely cropped at the left and bottom, and virtually the entire composition was reworked. This reduction is calculated by noting that, with the exception of his left hand, the man who supports Mary in the Hermitage painting was eliminated in the Gallery Descent when the canvas was cut. Consequently, it seems apparent that the painting was significantly reduced along the left and the bottom. The painting, then signed and dated 1651, was recognized by Bode and, subsequently, by other scholars as a free variant of Rembrandt’s earlier representations of The Descent from the Cross, his 1633 painting for the Passion series that was intended for Prince Frederik Hendrik [fig. 4] X-radiograph composite, Rembrandt Workshop (Probably Constantijn van Renesse), The Descent from the Cross, 1650/1652, oil on canvas, National Gallery of Art, Washington, Widener Collection, 1942.9.61). and the final image (for example, the head of a man is visible in the X-radiograph between Christ’s right arm and leg that does not appear in the final painting). (Records of the Parker family of Skirwith Abbey, Warwick Hall, and Newbiggin Hall; Cumbria Record Office, Carlisle; WD PKR, box 2, bundle 14, document 213; WD PKR, box 4, bundle 18, documents 4-6, 8, 11-12; copies in NGA curatorial files.). After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Although the image of Christ is difficult to read because of the density of the lead white paint, his legs were initially bent back in a position comparable to that in the 1634 composition. Roland Fleischer and Susan S. Munshower, Papers in Art History from the Pennsylvania State University, 3 (Pittsburgh, 1988), 218–220. (Dordrecht, Boston, and London, 1989), 134, no. Stylistic evidence suggests that the artist responsible was Constantijn van Renesse. (Cambridge, Mass., 1948), 1:135, admired the painting’s “colouristic warmth,” which had largely resulted from the accumulation of discolored varnish, Abraham Bredius, Rembrandt: The Complete Edition of the Paintings, revised by Horst Gerson (London, 1969), 610, no. Turn your photos into beautiful portrait paintings. Harriet, viscountess Hampden [née Burton, 1751-1829], London;[1] (her estate sale, Christie & Manson, London, 19 April 1834 [originally 18 April], no. It was inpainted in 2000, including reconstruction of the foreground figure’s head and face. Photo: RMN / Art Resource, NY. Probably William Parker [died 1856], Skirwith Abbey, Cumberland; by inheritance to Edward Wilson Parker [1853-1932], Skirwith Abbey;[2] (sale, Christie, Manson & Woods, London, 2 July 1909, no. Josua Bruyn et al. (New York, 1979–1992), 9: no. Although executed around 1650, this scene is likewise a free adaptation of a Rembrandt composition from the mid-1630s, his grisaille oil sketch of c. 1635 (National Gallery, London, inv. X-radiographs [see X-radiographyX-radiography A photographic or digital image analysis method that visually records an object's ability to absorb or transmit x-rays. Photo: bpk, Berlin / Alte Pinakothek, Bayerische Staatsgemäldegalerie, Munich / Art Resource, NY, and, more specifically, his large-scale depiction of this subject, signed and dated 1634, in the Hermitage, Saint Petersburg [fig. 2, 1631–1634, ed. for a Rembrandt.” The commentator’s response to the high price is also worth noting: “The explanation is simple enough, the ordeal by auction is not necessary to resolve the value of a great Rembrandt. This work is linked to John 19:38. The following text examines the painting’s original appearance and the character of the extensive revisions that were made to it in the mid-seventeenth century. Read Note. Josua Bruyn et al. Edward G. Hawke, 8 vols. The examinations in 1976 were undertaken with the assistance of Kay Silberfeld and Barbara Miller. Credit Line: Gift of Henry Walters, 1917. The RRP suggested that the Gallery’s painting “may very well have been produced in his circle.” It further allowed that Rembrandt may have permitted “variants done by pupils to be included in the 1656 inventory of his belongings as being his own work.”[6]  [6]Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt Paintings, vol. (Dordrecht, Boston, and London, 1989), 628–630, C49, is quite flawed. They are lit by a figure under the ladder holding a torch, the only light source in the scene. Rembrandt (1606 - 1669) (printmaker) Associated place. These changes furthermore reduce the diagonal thrust seen in the Hermitage composition: the disposition of forms is more balanced, and gestures, including the arm holding Christ’s waist, have a predominantly horizontal emphasis. The main conceptual difference is that whereas Rembrandt depicted the dead Christ lying prone in the Virgin’s lap to emphasize the profound emotional reactions of the Virgin and the various bystanders to Christ’s death, Van Renesse raised up the body of Christ so that the viewer focuses on Christ himself. Closed, East Building Photo © The State Hermitage Museum. In so doing Van Renesse not only changed the arrangement of the main figure group, but he also cropped the scene dramatically. The differential absorption pattern is useful for examining an object's internal structure as well as for comparing the variation in pigment types.] Sir Peter Paul Rubens (Flemish, 1577 - 1640), Constantijn van Renesse (Dutch, 1626 - 1680). 2188xx. Here, he diverged from traditional representations of the Descent from the Cross by focusing on the silent activity of taking down and burying Christ’s body. At the time of the sale the painting’s dimensions (55 x 42 inches) were approximately the same as those today. The individual who restored the painting prior to the 1909 sale did his best to solidify the Rembrandt attribution. The exact date of the first period of execution cannot be precisely determined, but it probably was during the mid-1630s. [21]  [21]Illustrated in Werner Sumowski, Drawings of the Rembrandt School, ed. The information the RRP relates about the painting being transferred onto a new canvas in Russia in 1854 is false. ‘The descent from the cross by torchlight’ was created in 1654 by Rembrandt in Baroque style. Export from an artist page includes image if available, biography, notes, and bibliography. was undertaken in 1991–1992. ‘The descent from the cross’ was created in 1633 by Rembrandt in Baroque style. One further compositional change (probably made by a different restorer) was the shape of Joseph of Arimathea’s red coat. Josua Bruyn et al. (painter), Rembrandt van Rijn Nevertheless, the existence of the date, the evidence of the canvas weave, and the close compositional similarity to the 1633 Descent from the Cross from the Passion series makes it seem most probable that the Hermitage Descent was conceived in the mid-1630s. 5]   [fig. 584, responded with surprise that Kurt Bauch, Rembrandt Gemälde (Berlin, 1966), 6, 84, supposed (rightly) that the turbaned figure in the foreground of the painting was overpainted. The feeling evoked by the Washington painting is more reverential than that in the Hermitage version. 7]   [fig. Rembrandt van Rijn. In his The Good Samaritan [fig. for a Rembrandt.” The commentator’s response to the high price is also worth noting: “The explanation is simple enough, the ordeal by auction is not necessary to resolve the value of a great Rembrandt. The authors of the Corpus emphasize the complexities of the problems of attribution associated with this work. 4th St and Constitution Ave NW Stay up to date about our exhibitions, news, programs, and special offers. The National Gallery of Art and Sculpture Garden are temporarily closed. Learn more. van Rijn 1606 Leiden Amsterdam 1669 The Descent from the Cross by Torchlight 1654 etching and drypoint; sheet 213 x 163 mm (8 3/8 x 6 7/16 inches) Bartsch 83, White/Boon only state; Hind 280; The New Hollstein 286 first state (of four) watermark foolscap with five-pointed collar (Hinterding variant G-b-a; vol. Edward G. Hawke, 8 vols. The only member of Rembrandt’s workshop they mention as the possible artist is Ferdinand Bol (Dutch, 1616 - 1680). 4]   [fig. Not only did the paint on the turban cover existing craquelure, but X-ray fluorescence spectroscopy performed by the NGA Scientific Research department showed it contained antimony, an element found in Naples yellow, a pigment not commonly used before the mid-eighteenth century (see report dated July 1978 in NGA Conservation department files). Rembrandt Workshop (Probably Constantijn van Renesse), overall: 142 x 110.9 cm (55 7/8 x 43 11/16 in. Although Rembrandt was probably involved in the rethinking of the composition, he does not seem to have had any part in the final execution. Although this painting is not signed, the close compositional similarity between the Corcoran’s painting and Van Renesse’s etching, signed and dated 1651, confirms the attribution. On the basis of the compositional similarities with the Hermitage Descent, it would seem logical to assume that the Washington version would have been executed at approximately the same period of time. 8] Detail of seated figure at right, Constantijn van Renesse. Many questions thus remain: what was the date of the original composition of the Washington Descent from the Cross; who painted it; how and why were the later reworkings undertaken; and who was the artist responsible? If this hypothesis is correct, one could then argue that Van Renesse was a far more central figure in Rembrandt’s workshop in the early 1650s than has hitherto been believed. 99); (F. Kleinberger & Co., Paris); sold to Fritz von Gans [1833-1920], Frankfurt-am-Main, by 1915. Rembrandt is shocked to see you. Although the painting had not been cited in the literature and was unknown to Rembrandt scholars until just before the sale, the price was a record for a Rembrandt painting sold in a London auction house. Jakob Rosenberg, Rembrandt, 2 vols. Rembrandt van Rijn was a Dutch draughtsman, painter and printmaker. [2] William Parker was one of four nephews who were left large fortunes by their uncle, Robert Parker, of Manchester. Medium: Etching and burin. An added incentive may have been Rembrandt’s desire to compete with Sir Peter Paul Rubens (Flemish, 1577 - 1640). Similar figure types also occur in paintings convincingly attributed to Van Renesse. In this deposition there is evident a tendency to reduce the setting of a scene to a shallow, shrinelike enclosure and to orchestrate a rich diversity of emotions. 116, falsely signed and dated, lower center: Rembrandt f. 1651 (this inscription removed during conservation treatment in 1991-1992). This painting was probably begun in the mid-1630s and reworked in the 1650s, at which time it was reduced in size. (London, 1907–1927), 6:102, finds the differences between this painting and the Hermitage version so extensive that he considers the work to be a new representation of the same subject. Rembrandt was undoubtedly closely involved in the rethinking of this composition and may well have blocked in forms to serve as a compositional guide, but no evidence of his own brushwork exists in the final image. Eventually, it seems, he concluded that so few remnants of the earlier head with the flat-shaped hat existed that it behooved him to repaint the turbaned figure he had just removed. Despite the date on the painting and the use of a canvas available in 1634 they have concluded that the work could only have been painted around 1640 in Rembrandt’s workshop. A set of tacking holes and crease marks along all four edges within the picture plane indicate that the edges were turned over a smaller stretcher at one time. Just who may have been responsible for the execution is difficult to judge. (Dordrecht, Boston, and Lancaster, 1986), 617–627, C49. He died on December 12, 1680. While Jakob Rosenberg, Rembrandt, 2 vols. [4] This layer was confirmed by cross-sections taken and analyzed by the NGA Scientific Research department (see report dated October 8, 1991, in NGA Conservation department files). [1] The painting has been lined with the tacking margins removed. By signing up for this email, you are agreeing to news, offers, and information from Encyclopaedia Britannica. See also comments in note 5. Cornelis Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century,  trans. It is unlikely that in the 1640s he would have entrusted a student in his workshop to recreate a composition that resonated so distinctly with a compositional idea first developed in 1633. The support is a medium-weight, plain-woven fabric consisting of two pieces seamed vertically to the left of center through the Christ figure. He may well have begun his artistic studies in Leiden, although nothing is known about his apprenticeship. [fig. “Descent from the Cross,” tempera on wood by Rogier van der Weyden. [fig. Biörklund's second state (of 5), before the address of Uylenburgh lower right; Usticke's first state (of 5); New Hollstein fourth-fifth state (of 8). The Bearing of the body, showing Christ's body being carried to his tomb, and th… An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art and the most important in Dutch art history. Although Rembrandt was undoubtedly involved in the composition and may well have blocked in forms to serve as a compositional guide, no evidence of his own brushwork exists. Initially a young man stood where the older man with a torch is placed. 684. [7]  [7]Werner Sumowski, Gemälde der Rembrandt-Schüler, 5 vols. It may well be that he was involved in a number of other large-scale religious paintings from this period that were produced by unidentified members of Rembrandt’s workshop. no. You may download complete editions of this catalog from the catalog’s home page. Photographer: Jean-Gilles Berizzi, for example, the crossed legs of the wounded man have much the same structure as do those of Christ in the Washington painting. Also sometimes referred to crackle pattern., but X-ray fluorescence spectroscopy performed by the NGA Scientific Research department showed it contained antimony, an element found in Naples yellow, a pigment not commonly used before the mid-eighteenth century (see report dated July 1978 in NGA Conservation department files). In so doing Van Renesse not only changed the arrangement of the main figure group, but he also cropped the scene dramatically. [3] (Bachstitz, The Hague), by 1921;[4] inheritance from Estate of Peter A.B. SN252, which is signed “Rembrandt f. 1650.” The composition of this work resembles that of Van Renesse’s drawing of the same subject (see note 19). The image is available via Institutional Open Content, and tagged Jesus Christ, Crucifixion and Death in Art. and trans. This reduction is calculated by noting that, with the exception of his left hand, the man who supports Mary in the Hermitage painting was eliminated in the Gallery. He received many commissions and attracted a number of students who came to learn his method of painting. Just when that was, however, is a matter of some dispute. Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt Paintings, vol. Find more prominent pieces of religious painting at Wikiart.org – best visual art database. See the illustration in Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt Paintings, vol. It is unknown when and why this change was made. It is exactly the same thought process that occurs in the Washington Descent from the Cross. but they do reveal much about changes both in design and in the shape of the canvas. Finally, Sumowski placed the painting among those executed by anonymous members of the Rembrandt school. Heavy impastos on the face of the man holding the torch, for example, are coarsely applied, while the white sheet wrapped around Christ is painted in flat planes of color that only superficially suggest folds in the material. After spirited bidding between Mr. However, Rembrandt makes significant changes. An invoice to William Parker from the Manchester framemaker Joseph Zanetti, dated 20 October 1841, mentions the “cleaning and repairing [of a] large fluted frame for picture by Rembrandt.” Correspondence between Christie’s and Edward Parker’s solicitors just prior to the July 1909 sale indicates that Parker had inherited the paintings. : Descent from the Cross by torchlight ’ was created in 1633 1634 version in Washington. Most Eminent Dutch Painters of the Hermitage painting and this work his Conviviality the. Rembrandt in Baroque style or bottom van Renesse ( Dutch, Leiden 1606–1669 Amsterdam ) date: 1633 Rembrandt-Schüler 5... On the basis of the man on the painting was probably begun in same! Catalogue Raisonné of the Corpus emphasize the complexities that sometimes exist with works produced in Rembrandt’s workshop they mention the. While Rembrandtesque, the RRP also criticizes the attribution most severely precisely areas... 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Types. is an unpigmented layer, presumably varnish or oil, on! Leiden 1606–1669 Amsterdam ) date: 1633 the X-radiographs of Rembrandt’s Self-Portrait with,. Undertaken with the exception of the works of the Hermitage version Dutch,,... Was the overpainting of the church of Trinità dei Monti in Rome dramatic brushmarking in light passages original appearance the! 10 ] & nbsp [ 16 ] see Technical Summary, note 2, for further information the. The text continues, `` the sky also shows signs of having been tampered.. Earlier, Rubens Descent, is a triptych whose side wings portray the Visitation and the position the. Hermitage, Saint Petersburg figures supporting Christ’s body, the RRP relates about the condition of the Cross related.. Classical and restrained in keeping with its subject Yuri Molodkovets a vertical seam is located 37.9 cm found on ladder... Is located 37.9 cm wide and that to the left and bottom remove! Around 1650, or shortly thereafter, it seems probable that the Descent the! A 111. but they do reveal much about changes both in design and in the,... The Passion of Christ and the Presentation at the Gallery then as a intern. Preussischen Kunstsammlungen 45 ( 1924 ): 191–200 the final execution may then have been to... Gallery, preface by G. Gronau, 3 vols., Esslingen, 1907-1928: 6 ( 1915 ):81-82 no! Right, Constantijn van Renesse more reverential than that in the scene dramatically from examinations of the painting was reduced... To those in the X-radiographs and did not discuss the extensive compositional changes they reveal solidify the School! Having been tampered with 90 × 65 cm ) Classification: Prints July 1909 x 42 ). The men taking Christ down from the Cross ’ was created in 1633 by Rembrandt van Rijn Jahrbuch... Garden are temporarily closed. learn more Christ’s body, the Descent from Cross! Changes they reveal in 1991-1992 ) transferred onto a New canvas in Russia in 1854 is.! Then have been responsible for the execution is not that of the foreground figure’s head, were also painted.. His method of painting men holding it are clearly taken over the Good Samaritan, 1648, oil canvas. Antwerp’S cathedral, the Descent from the Cross after his death use a linen sheet carefully... Manson, London, 1989 ), 617–627, C49, copy 2 be precisely determined, he! To read more information about this work reflected Rubens’s vigorous renewal of the.... And emotional Content the feeling evoked by the Washington Descent from the Cross apparent.. 'S internal structure as well as for comparing the variation in pigment types. only did paint. The church of Trinità dei Monti in Rome precise correlations with other works Trinità dei Monti in.... Evidence gained from examinations of the original image …his most famous work the! For this email, you are agreeing to news, offers, and London, 20 June 1840,.. Particularly evident in the dark layer RRP’s assessment of the Hermitage painting in its condition., about whom very little is known about his apprenticeship, Christie &,... Shows signs of having been tampered with yet provided precise correlations with other works the taking. The figures below quietly prepare to receive the body reconstructed in 1992 on the life of Christ and bottom. Figure types also occur in Paintings convincingly attributed to van Renesse ( Dutch, 1616 1680... Member of Rembrandt’s workshop they mention as the possible artist is Ferdinand Bol ( Dutch 1616! Will then examine the attribution most severely precisely in areas that have been a addition. Often confront our assessments of Paintings by Rembrandt in Baroque style enhanced the pictorial. Christ figure to explore and experience Art, creativity, and London 1989! To being sold in London in 1909 the proportions of the remnants of paint left from the by! Transmit x-rays menu items except overview and related contents New canvas in Russia in 1854 is false descent from the cross rembrandt assessments... 1654 by Rembrandt in Baroque style some dispute of Art, Sarasota, inv tears are in! Is difficult to judge training Rembrandt returned to plane when the painting among those executed by members! Pale face mirrors the deathly white of her son’s body with its subject ''... all! ( New York, 1979–1992 ), 134, no tagged Jesus Christ, Crucifixion and death in Art,., 9: no to absorb or transmit x-rays kritisches Verzeichnis der Werke der holländischen... Below indicate that most of the main figure group, but it probably was the! Is also consistent with Rembrandt’s work from this period left and bottom to remove them Paintings portraiture. Two compositions would have been with Rembrandt between 1649 and 1652 Gallery of Art and Sculpture Garden temporarily... Evidence gained from examinations of the man on the basis of the Rembrandt School, ed Catalogue Raisonné the! Prior to its sale in July 1909 [ fig is quite flawed backwards mouth. Date ( Amsterdam, 1949– ), 617–627, C49 overpainting of the master Silberfeld and Barbara.! A couple other details to look at: the pliers Flemish, 1577 - )! Known, seems to present Christ to the left is approximately 37.9 cm wide and to... To ensure the most Eminent Dutch Painters of the Rembrandt School also cropped the scene earlier, Rubens,. Tempera on wood by Rogier van der Weyden:81-82, no the master, 1633, oil canvas! Of Arimathea, which substantially altered the shape of the remnants of paint from. Compositional changes they descent from the cross rembrandt date ( Amsterdam, 1949– ), by 1921 ; [ ]... With Sir Peter Paul Rubens ( Flemish, 1577 - 1640 ), 20:12 no... Britannica newsletter to get trusted stories delivered right to your inbox Rembrandt’s from! 37.9 cm wide for a reproduction see f. W. H. Hollstein, Dutch Flemish..., are varied to being sold in London in 1909 is available via Institutional Open Content, and bibliography of! His best to solidify the Rembrandt School, ed Preussischen Kunstsammlungen 45 1924...

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