Abstract
The answer to the question of what the exact relationship might be between two or more obviously connected Rembrandtesque paintings can differ from case to case. While in many instances the nature of this relationship will never be known, in others it can be pinned down fairly precisely. Analysis of X-radiographs and related drawings can then provide insight into how the genesis and evolution of the paintings in question are interwoven. This is the case with the Nativity discussed here and the Nativity in Munich (V 11) that Rembrandt delivered to Frederik Hendrik in 1646.
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Notes
Exhib. cat. Art in the making 1988/89, pp. 92–95; 2006, cat. 11 and p. 224.
N. MacLaren, The Dutch School (National Gallery catalogues), London 1960, pp. 311–312; revised and enlarged by Christopher Brown, London 1991, pp. 330-332.
W. Weisbach, Rembrandt, Berlin/Leipzig 1926, pp. 384–385.
Schwartz 1984, p. 239.
Tümpel 1986, cat. no. A7.
W.R. Valentiner, Rembrandt. Des Meisters Handzeichnungen I, Stuttgart/ Berlin/Leipzig n.d. [1925], (Kl.d.K.XXXI), no. 294.
H.-M. Rotermund, ‚The motif of radiance in Rembrandt’s Biblical Drawings‘, Journal of the Warburg and Courtauld Institutes 15 (1952), pp. 101–121, esp. 101-102.
See Sumowski Gemälde III, p. 1951. However, for a possible earlier beginnings of Maes’ pupillage, see J. Bruyn, [review of] Sumowski Gemälde III, O.H. 102 (1988), pp. 322-333, esp. 328.
N. Konstam, ‚Rembrandt’s use of models and mirrors‘, Burl. Mag. 119 (1977), pp. 94–98.
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© 2011 Stichting Foundation Rembrandt Research Project
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Van De Wetering, E. (2011). Pupil of Rembrandt — The Nativity (free variant after V 11). In: A Corpus of Rembrandt Paintings. Stichting Foundation Rembrandt Research Project, vol 5. Springer, Dordrecht. https://doi.org/10.1007/978-1-4020-5786-1_17
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DOI: https://doi.org/10.1007/978-1-4020-5786-1_17
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