John the Baptist preaching

Berlin (West), Staatliche Museen Preussischer Kulturbesitz, Gemäldegalerie, Cat.No. 828 K
  • J. Bruyn
  • B. Haak
  • S. H. Levie
  • P. J. J. Van Thiel
  • E. Van De Wetering
Part of the Stichting Foundation Rembrandt Research Project book series (RRSE, volume 3)

Abstract

A well preserved grisaille the authenticity of which is, on the grounds both of style and quality and of evidence as to the genesis of the work, combined with documentary evidence, beyond all doubt. The work must, in its smaller, first state, have been painted around 1634 in preparation for an etching and have been enlarged to its present format soon afterwards.

Keywords

Narrow Strip Paint Layer Paint Surface Arched Bridge Infrared Photograph 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

References

  1. 1.
    E. Haverkamp Begemann, ‘Purpose and style: oil sketches of Rubens, Jan Bruegel, Rembrandt’, Stil and Ueberlieferung in der Kunst des Abendlandes, Akten des 21. Internationalen Kongresses … in Bonn 1964, Berlin 1967, pp. 104–113, esp. 110.Google Scholar
  2. 2.
    Tümpel 1986, cat.no. 52.Google Scholar
  3. 3.
  4. 4.
    J. Kelch in: Gemäldegalerie Staatliche Museen Preuszischer Kulturbesitz Berlin. Katalog der ausgestellten Gemälde des 13–18. Jahrhunderts, Berlin-Dahlem 1975, pp. 350–351.Google Scholar
  5. 5.
    W. Bode, ‘Rembrandts Predigt Johannes des Täufers in der Königlichen Gemälde-Galerie zu Berlin’, Jb.d.Pr.Kunsts. 13 (1892), pp. 213–218.Google Scholar
  6. 6.
    J. Six, ‘Rembrandt en Lastman’, Bulletin uitgegeven door den Nederlandschen Oudheidkundigen Bond 8 (1907), pp. 141—146.Google Scholar
  7. 7.
    J. Six, ‘Rembrandt’s Eendacht van het land’, Onze Kunst 33 (1918), pp. 141–158, esp. 155–156.Google Scholar
  8. 8.
    C. Neumann, Aus der Werkstatt Rembrandts, Heidelberg 1918, pp. 77–85.Google Scholar
  9. 9.
    F. Lugt, École hollandaise III. Rembrandt …, Paris 1933 (Musée du Louvre, Inventaire général des dessins), no. 1131.Google Scholar
  10. 10.
    Sumowski 1957/58, p. 228.Google Scholar
  11. 11.
    Gerson 71; Br.-Gerson 555.Google Scholar
  12. 12.
    Ben. Addenda 10.Google Scholar
  13. 13.
    J. Rosenberg, ‘[Review of] Otto Benesch, The Drawings of Rembrandt … vols. III and IV..; V and VI ….’, Art Bull. 41 (1959), pp. 108–119 esp. 118.CrossRefGoogle Scholar
  14. 14.
    Paintings and drawings of continental schools other than Flemish and Italian, at 56 Princes Gate, London 1961, p. 16 no. 182. O. Benesch (†), ‘Neuentdeckte Zeichnungen von Rembrandt’, Jahrbuch der Berliner Museen 6 (1964), pp. 105–150, esp. 118–119.CrossRefGoogle Scholar
  15. 15.
    H. Kauffmann, ‘Zur Kritik der Rembrandtzeichnungen’, Repertorium für Kunstwissenschaft 47 (1926), pp. 152–178, esp. 159.Google Scholar
  16. 16.
    I.Q. va[an] Rjegteren] A[ltenal], ‘Nogmaals Rembrandt en Lastman’, Oudheidkundigjaarboek I (1921), pp. 149–151.Google Scholar
  17. 17.
    U. Keller, ‘Knechtschaft und Freiheit. Ein neutestamentliches Thema bei Rembrandt’, Jahrbuch der Hamburger Kunstsammlungen 24 (1979), pp. 77–112, esp. 94.Google Scholar
  18. 18.
    J. Six, ‘lets over Rembrandt’, O.H. 11 (1893), pp. 154–161, esp. 155.Google Scholar
  19. 19.
    J. Smith, A catalogue raisonné of the works of the most eminent Dutch, Flemish and French painters VII, London 1836, no. 124.Google Scholar
  20. 20.

Copyright information

© Stichting Foundation Rembrandt Research Project 1989

Authors and Affiliations

  • J. Bruyn
  • B. Haak
  • S. H. Levie
  • P. J. J. Van Thiel
  • E. Van De Wetering

There are no affiliations available

Personalised recommendations