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| { | ||
| "accession_number": "2009.19.2", | ||
| "art_champions_text": null, | ||
| "artist": "artist: Rembrandt van Rijn", | ||
| "catalogue_raissonne": "Hind 42; Bartsch 201", | ||
| "classification": " Prints", | ||
| "continent": "Europe", | ||
| "country": "Netherlands", | ||
| "creditline": "The John R. Van Derlip Fund", | ||
| "culture": null, | ||
| "curator_approved": 0, | ||
| "dated": "c. 1631", | ||
| "department": "European Art", | ||
| "description": "nude woman with round face and full figure, turned to PR, with legs in a pool; foliage behind woman", | ||
| "dimension": "7 1/16 x 6 5/16 in. (17.94 x 16.03 cm) (plate)\r\n8 1/4 x 7 7/16 in. (20.96 x 18.89 cm) (sheet)", | ||
| "id": "http://api.artsmia.org/objects/107160", | ||
| "image": "valid", | ||
| "image_copyright": "", | ||
| "image_height": 5487, | ||
| "image_width": 4953, | ||
| "inscription": "Signature and Inscription\r\nIn plate, lower right: RHL f.\r\nVerso, upper center, in pencil: Save [?] 33\r\nVerso, lower center, in pencil: LoV 54 55 [in box]", | ||
| "life_date": "Dutch, 1606–1669", | ||
| "markings": "", | ||
| "medium": "Etching", | ||
| "nationality": "Dutch", | ||
| "object_name": "Print", | ||
| "portfolio": null, | ||
| "provenance": "Fred Mulder (London); Richard Harris (Riverwoods, IL),1985; sold by him through C. G. Boerner (New York), catalogue Rembrandt: The Richard Harris Collection, New York, 2003, no. 19; to private collection Jonathon Vento (Phoenix, AZ), 2007; C. G. Boerner (New York), 2008", | ||
| "restricted": 0, | ||
| "rights_type": "Public Domain", | ||
| "role": "Artist", | ||
| "room": "Not on View", | ||
| "see_also": [ | ||
| "" | ||
| ], | ||
| "signed": "LRC, in the plate: RHL f.", | ||
| "style": "17th century", | ||
| "text": "Rembrandt's rebellion against convention is written all over this print. Diana, the goddess of the hunt, is usually seen with a crescent moon on her forehead, but Rembrandt omitted it, asking viewers to divine her identity from her rich mantle and quiver of arrows. This is no idealized goddess; this is a real woman.", | ||
| "title": "Diana at the Bath" | ||
| } |
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| { | ||
| "accession_number": "2009.19.3", | ||
| "art_champions_text": null, | ||
| "artist": "artist: Rembrandt van Rijn", | ||
| "catalogue_raissonne": "Hind 232 ii/ii; Bartsch 103; Rassieur iii/iii", | ||
| "classification": " Prints", | ||
| "continent": "Europe", | ||
| "country": "Netherlands", | ||
| "creditline": "The John R. Van Derlip Fund", | ||
| "culture": null, | ||
| "curator_approved": 0, | ||
| "dated": "1648", | ||
| "department": "European Art", | ||
| "description": "man with long white beard and glasses seated at LR, writing, behind a stumpy tree with thick trunk and thin branches on right side only; big cat's face at left looking out from behind tree", | ||
| "dimension": "7 x 5 3/16 in. (17.78 x 13.18 cm) (plate)\r\n7 1/4 x 5 7/16 in. (18.42 x 13.81 cm) (sheet)", | ||
| "id": "http://api.artsmia.org/objects/107161", | ||
| "image": "valid", | ||
| "image_copyright": "", | ||
| "image_height": 4539, | ||
| "image_width": 3359, | ||
| "inscription": "Back, in brown ink and pencil: (various notes and inscriptions)", | ||
| "life_date": "Dutch, 1606–1669", | ||
| "markings": "", | ||
| "medium": "Etching and drypoint", | ||
| "nationality": "Dutch", | ||
| "object_name": "Print", | ||
| "portfolio": null, | ||
| "provenance": "Pierre Remy, dated 1749 (died after 1787, Paris, Lugt 2173); Kennedy Galleries (New York, stock no. a14562); Henry Harper Benedict (1844-1935, New York, cf. Lugt 1298 and 2936); sold Sotheby Parke Bernet, New York, May 10, 1973; to C. G. Boerner (Düsseldorf) for a private German collection; by whom consigned to C. G. Boerner (New York), 2008\r\n\r\nA speculative note on the early provenance:\r\nRembrandt etchings with Remy's mark and the date 1749 are almost invariably of the very highest quality. This etching may have been part of a renowned group of Rembrandt prints that Remy acquired from painter Jacques Aved. Evidence suggests that, Remy transferred these sheets to London engraver and dealer Thomas Major, who sold it to the financier Sampson Gideon, who in turn probably acted as agent or banker for the artist and dealer Arthur Pond. However, unlike many sheets sharing this early provenance, this one was not sold to Sir Edward Astley, who typically stamped his mark prominently on his Rembrandts. Presumably, Pond sold the present sheet to another collector, after which point there is a long gap in the provenance until its reappearance with Kennedy Galleries. The curator in now attempting to reduce the gap by tracing the print in the Kennedy archive, now believed to be in the possession of another dealer.", | ||
| "restricted": 0, | ||
| "rights_type": "Public Domain", | ||
| "role": "Artist", | ||
| "room": "Not on View", | ||
| "see_also": [ | ||
| "" | ||
| ], | ||
| "signed": "Bottom center, in the plate: Rembrandt f.1648", | ||
| "style": "17th century", | ||
| "text": "This image seems to have begun as a straightforward study of a willow tree, battered by violent weather and disfigured by harvesters taking its branches. As Rembrandt's imagination took hold, the wizened tree became both haven and metaphor for the aged saint, who carries on his studies at his ramshackle desk. With a few strokes of his etching needle, Rembrandt moved the scene from Holland's flat terrain to an alpine valley with a waterfall.\r\n\r\nThis print, acquired by Mia in 2009, is a major addition to the museum's collection of Rembrandt etchings. The copper plate used to print this image deteriorated quickly, but this impression was printed while the plate was still fresh. This is the finest example to have appeared on the market in more than 50 years.", | ||
| "title": "Saint Jerome by the Pollard Willow" | ||
| } |
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|---|---|---|
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| { | ||
| "accession_number": "2009.71.1", | ||
| "art_champions_text": null, | ||
| "artist": "artist: Rembrandt van Rijn", | ||
| "catalogue_raissonne": "Hind 144, Bartsch 19, White-Boon (i of iii)", | ||
| "classification": " Prints", | ||
| "continent": "Europe", | ||
| "country": "Netherlands", | ||
| "creditline": "Gift of Ruth and Bruce Dayton", | ||
| "culture": null, | ||
| "curator_approved": 1, | ||
| "dated": "1636", | ||
| "department": "European Art", | ||
| "description": "Rembrandt at right wearing a hat and holding a stylus in his PL hand; woman seated behind him to left, wearing a bonnet", | ||
| "dimension": "4 3/16 x 3 3/4 in. (10.64 x 9.53 cm) (plate)\r\n5 3/4 x 5 1/8 in. (14.61 x 13.02 cm) (sheet)", | ||
| "id": "http://api.artsmia.org/objects/108008", | ||
| "image": "valid", | ||
| "image_copyright": "", | ||
| "image_height": 6014, | ||
| "image_width": 5354, | ||
| "inscription": "Signature, Date, Inscription and Stamp\r\n\r\non back, in pencil: [No. 21] and illegible inscriptions", | ||
| "life_date": "Dutch, 1606–1669", | ||
| "markings": "on back, stamped in black: [RH]", | ||
| "medium": "Etching", | ||
| "nationality": "Dutch", | ||
| "object_name": "Print", | ||
| "portfolio": null, | ||
| "provenance": "Richard Harris (Chicago); C. G. Boerner (New York); Bruce Dayton (Wayzata, MN)", | ||
| "restricted": 0, | ||
| "rights_type": "Public Domain", | ||
| "role": "Artist", | ||
| "room": "Not on View", | ||
| "see_also": [ | ||
| "108008", | ||
| "8229" | ||
| ], | ||
| "signed": "ULC, in the plate: [Rembrandt .f / 1636]", | ||
| "style": "17th century", | ||
| "text": "Self portrait with Saskia, made in 1636, shows Rembrandt pausing in his work. His hand has gone slack on the stylus. He and his wife stare out at us. It is as though we have interrupted them. Rembrandt was of course gazing into a mirror, where he saw Sakia at the table, serving as partner, model, and muse. The novel image fits into no clear pictorial tradition. Though twenty-first-century sensibilities may spark criticism of the unequal scale of husband and wife, in the context of the seventeenth century, the image is one of remarkable intimacy. This impression is unusually fine and well preserved.", | ||
| "title": "Self-Portrait with Saskia" | ||
| } |
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|---|---|---|
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| { | ||
| "accession_number": "2009.71.2", | ||
| "art_champions_text": null, | ||
| "artist": "artist: Rembrandt van Rijn", | ||
| "catalogue_raissonne": "Hind 15, Bartsch 162, White/Boon (i of i)", | ||
| "classification": " Prints", | ||
| "continent": "Europe", | ||
| "country": "Netherlands", | ||
| "creditline": "Gift of Ruth and Bruce Dayton", | ||
| "culture": null, | ||
| "curator_approved": 0, | ||
| "dated": "c. 1630", | ||
| "department": "European Art", | ||
| "description": "standing man, slightly stooped, leaning with both hands on a walking stick; wearing tall cap with bulbous top and long wraps or cloaks; shadow at left", | ||
| "dimension": "6 3/16 x 4 13/16 in. (15.72 x 12.22 cm) (sheet)", | ||
| "id": "http://api.artsmia.org/objects/108009", | ||
| "image": "valid", | ||
| "image_copyright": "", | ||
| "image_height": 4987, | ||
| "image_width": 3821, | ||
| "inscription": "Inscription\r\n\r\non back, in pencil: [Orig] and [36905]", | ||
| "life_date": "Dutch, 1606–1669", | ||
| "markings": "", | ||
| "medium": "Etching", | ||
| "nationality": "Dutch", | ||
| "object_name": "Print", | ||
| "portfolio": null, | ||
| "provenance": "[fragmentary unidentified collectors mark on verso], Bruce Dayton (Wayata, MN)", | ||
| "restricted": 0, | ||
| "rights_type": "Public Domain", | ||
| "role": "Artist", | ||
| "room": "Not on View", | ||
| "see_also": [ | ||
| "108009", | ||
| "55076" | ||
| ], | ||
| "signed": "", | ||
| "style": "17th century", | ||
| "text": "Rembrandt's Beggar in a High Cap Leaning on a Stick takes the work of Jacques Callot as a point of departure. Callot treated similar subjects on similar scale. Rembrandt added reckless energy to the calligraphic line employed by Callot. He provides us with a less sanitized view of the man, while also endowing him with individual humanity. The image appears completely spontaneous and unedited, as though we were looking at a page from Rembrandt’s sketchbook. However, closer observation reveals that he rethought his drawing. Originally the shadow beside the man would have impinged more fully on his form, but the truncated strokes of the zigzag lines tell us that Rembrandt partially masked his work with varnish before biting the plate in acid. In doing so, he released the man from the shadow to increase his monumentality.", | ||
| "title": "Beggar in a High Cap Leaning on a Stick" | ||
| } |
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|---|---|---|
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| { | ||
| "accession_number": "2009.71.3", | ||
| "art_champions_text": null, | ||
| "artist": "artist: Rembrandt van Rijn", | ||
| "catalogue_raissonne": "Hind 298, Bartsch 200, White/Boon (i of i; actually ii of ii)", | ||
| "classification": " Prints", | ||
| "continent": "Europe", | ||
| "country": "Netherlands", | ||
| "creditline": "Gift of Ruth and Bruce Dayton", | ||
| "culture": null, | ||
| "curator_approved": 0, | ||
| "dated": "1658", | ||
| "department": "European Art", | ||
| "description": "seated nude heavy-set woman, with her upper body turned slightly to PR; woman wears cloth on her head; dark ground", | ||
| "dimension": "6 1/4 x 3 3/16 in. (15.88 x 8.1 cm) (plate)\r\n6 7/16 x 3 7/16 in. (16.35 x 8.73 cm) (sheet)", | ||
| "id": "http://api.artsmia.org/objects/108010", | ||
| "image": "valid", | ||
| "image_copyright": "", | ||
| "image_height": 3185, | ||
| "image_width": 1809, | ||
| "inscription": "Inscription\r\n\r\non back, in pencil: [2687], [4995] and other various inscriptions", | ||
| "life_date": "Dutch, 1606–1669", | ||
| "markings": "", | ||
| "medium": "Etching", | ||
| "nationality": "Dutch", | ||
| "object_name": "Print", | ||
| "portfolio": null, | ||
| "provenance": "Bruce Dayton (Wayzata, MN)", | ||
| "restricted": 0, | ||
| "rights_type": "Public Domain", | ||
| "role": "Artist", | ||
| "room": "Not on View", | ||
| "see_also": [ | ||
| "108010", | ||
| "55744" | ||
| ], | ||
| "signed": "", | ||
| "style": "17th century", | ||
| "text": "Late in Rembrandt’s printmaking career, images of nude women became his most favored theme. Woman with her Feet in a Brook explores the soft sensuality of the female body seen in soft light. As is so often the case with Rembrandt, his work began with acute observation of the world before him and then progressed in to the realm of fantasy and imagination. The model sat on a cushioned chair, the backrest of which extends to either side of her. As Rembrandt’s mind wandered, the chair became an embankment strewn with clothing and a grand pillow with an extravagant tassel. The woman gazes down, seeming to attend to her garments. Her lower legs disappear into water that has just the faintest glimmer of reflection on its surface. Behind her Rembrandt added the suggestion of a forest landscape.", | ||
| "title": "Woman with Her Feet in a Brook" | ||
| } |
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| Original file line number | Diff line number | Diff line change |
|---|---|---|
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| { | ||
| "accession_number": "2009.71.5", | ||
| "art_champions_text": null, | ||
| "artist": "artist: Rembrandt van Rijn", | ||
| "catalogue_raissonne": "Hind 290, Bartsch 276, White/Boon (iii of iii)", | ||
| "classification": " Prints", | ||
| "continent": "Europe", | ||
| "country": "Netherlands", | ||
| "creditline": "Gift of Ruth and Bruce Dayton", | ||
| "culture": null, | ||
| "curator_approved": 0, | ||
| "dated": "1656", | ||
| "department": "European Art", | ||
| "description": "slightly longer than 3/4 portrait of a seated man with beard and moustache, wearing a cap, vest with many small buttons and long cloak; man holds an object in his PR hand; table at right with small hammer and other objects; window behind", | ||
| "dimension": "8 x 6 1/16 in. (20.32 x 15.4 cm) (sheet)", | ||
| "id": "http://api.artsmia.org/objects/108012", | ||
| "image": "valid", | ||
| "image_copyright": "", | ||
| "image_height": 4267, | ||
| "image_width": 3259, | ||
| "inscription": "Signature, Date and Inscription\r\n\r\nat right edge below center, in the plate: [Joannes Lutma Aurifecx / Natus Groningae]; on back, in pencil: [B276 JAN LUTMA] and [M180]", | ||
| "life_date": "Dutch, 1606–1669", | ||
| "markings": "", | ||
| "medium": "Etching, drypoint, and engraving", | ||
| "nationality": "Dutch", | ||
| "object_name": "Print", | ||
| "portfolio": null, | ||
| "provenance": "Bruce B. Dayton, Wayzata, Minn.; given to MIA, 2009", | ||
| "restricted": 0, | ||
| "rights_type": "Public Domain", | ||
| "role": "Artist", | ||
| "room": "Not on View", | ||
| "see_also": [ | ||
| "108012", | ||
| "55746" | ||
| ], | ||
| "signed": "signed and dated top center, in the plate: [Rembrandt / 1656]", | ||
| "style": "17th century", | ||
| "text": "Jan Lutma, Goldsmith, pays homage to one of the grand old men of Dutch art at the time. Lutma, then in his seventies, was a master of the auricular forms fashionable earlier in the century. He holds a statuette, and on the table beside him are a hammer and a cup full of punches—the tools of his trade—as well as a dish featuring sensuous curvilinear contours for which he was famous. Though Rembrandt portrays Lutma as physically past his prime, he also gives him the penetrating gaze of a sharp mind still at work. The exceptionally neat inscription identifying the sitter may have been applied to the plate by Lutma’s son, who was both a goldsmith and a printmaker.", | ||
| "title": "Jan Lutma, Goldsmith" | ||
| } |
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|---|---|---|
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| { | ||
| "accession_number": "2009.71.6", | ||
| "art_champions_text": null, | ||
| "artist": "artist: Rembrandt van Rijn", | ||
| "catalogue_raissonne": "Hind 128; Bartsch 279; White-Boon V (of V or VI)", | ||
| "classification": " Prints", | ||
| "continent": "Europe", | ||
| "country": "Netherlands", | ||
| "creditline": "Gift of Ruth and Bruce Dayton", | ||
| "culture": null, | ||
| "curator_approved": 0, | ||
| "dated": "1635", | ||
| "department": "European Art", | ||
| "description": "octagonal plate and sheet; portrait of a man seated at a table with book open in front of him, and other books on table and at right; man wears cap, ruffled collar and fur stole; beard and moustache; four-line Latin inscription at bottom", | ||
| "dimension": "8 13/16 x 7 3/8 in. (22.38 x 18.73 cm) (plate, irregular)\r\n9 3/16 x 7 3/4 in. (23.34 x 19.69 cm) (sheet, irregular)", | ||
| "id": "http://api.artsmia.org/objects/108013", | ||
| "image": "valid", | ||
| "image_copyright": "", | ||
| "image_height": 4372, | ||
| "image_width": 3654, | ||
| "inscription": "Signature, Date and Inscription\r\n\r\non back, in pencil: [30.], [28/2] and illegible inscription", | ||
| "life_date": "Dutch, 1606–1669", | ||
| "markings": "", | ||
| "medium": "Etching", | ||
| "nationality": "Dutch", | ||
| "object_name": "Print", | ||
| "portfolio": null, | ||
| "provenance": "Adolph Theodor Gerstäcker (Leipzig, Lugt 1077); Weigel, Berlin, January 12, 1857; sold to Lind (Copenhagen); C. G. Boerner (New York); Bruce Dayton (Wayzata, MN)", | ||
| "restricted": 0, | ||
| "rights_type": "Public Domain", | ||
| "role": "Artist", | ||
| "room": "Not on View", | ||
| "see_also": [ | ||
| "108013", | ||
| "55332" | ||
| ], | ||
| "signed": "ULC, in the plate: [Rembrandt]; URC, in the plate: [1635]", | ||
| "style": "17th century", | ||
| "text": "In the early 17th century, the Dutch protestant community was fractious. Johannes Uytenbogaert (1557–1644) was a hero of the liberal Remonstrant faction of Calvinism, which argued that predestination was not absolute, and religious tolerance was ideal. His position led to his exile from Holland, from 1619 to 1626. The caption, written by Hugo de Groot—a Remonstrant still in exile in 1635—drew attention to Uytenbogaert's return to Holland. \r\n\r\nRembrandt made both painted and etched portraits of Uytenbogaert, both probably commissioned by one of the Remonstrant's advocates. The irregular format of the printing plate, and the messiness of the inscription indicates this print was deeply personal, probably meant for close associates rather than general distribution.", | ||
| "title": "Jan Uytenbogaert, Preacher of the Remonstrants" | ||
| } |
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