183:(window, vault, doors) that create an impression of monumentality. On the pre-iconographic level, this is one of the most "graphic" works painted by Rembrandt, in the sense that it contains many straight, curved, circular, and radiating lines: from the lines of the flagstones to those of the window, the bricks, the wainscotting, and of course the staircase. As in the staircase and the basketwork tray at the center of the composition, the curved lines can be said to organize the straight lines. The most conspicuous figure is that of an old man seated at a table in front of a window, his head bowed and his hands folded in his lap. The second figure is that of an old woman tending a fire in an open hearth. A third figure—a woman standing in the stairs carrying a basket and turned to the spectator—is visible in 18th- and 19th-century engraved reproductions of the painting, but virtually invisible in the painting's present state. As it is, the overall lighting is warm and quite subdued owing to the yellowing of the varnish.
423:. Until then, and except for the "heretical" John C. Van Dyke, this attribution had been unanimously accepted by experts and art historians. The RRP did not introduce any new objective or documentary evidence, but based its judgment on an assessment of Rembrandt's "habits," an appraisal of the painting's style, and the difficulty of fitting it within Rembrandt's production in 1632 or the later 1630s. The RRP did not make any guesses as to who the author of this painting might have been, but relegated it to "Rembrandt's immediate circle, or even to his own workshop." This judgment was criticized by Jean-Marie Clarke who maintained the traditional attribution to Rembrandt and pointed out that the RRP might have had a special stake in rejecting this painting, as the following quote suggests: "In the later part of the 18th century the painting enjoyed a great reputation in France as
446:" There is no further mention of the issue of perspective that was highlighted by the Rembrandt Research Project in volume II when it disattributed the painting and called it just that: a study in perspective. Considering the fact that it is supposed to be a study, this painting is executed in great detail (down to individual nails in the woodwork) and bears a signature and date. There is no evidence that "studies" or "interiors" with figures but without a narrative were in demand on the art market. The inconsistencies in the Rembrandt Research Project's position do not lend credence to its argument that, here, Rembrandt was working without reference to iconography.
407:
human skull. The identical format might well be a product of chance (standard supply) and it was long believed that the "pendant" had been enlarged by 2 cm at the top, but an examination of the panel by Clarke and
Foucart in 1988 revealed that it was of one piece. Any further speculation on the relationship between the two paintings must take into account manuscript notes from around 1750 written by their first French owner, the marquis de Voyer d'Argenson, who states that the two pictures were brought together "by chance." The provenance of the former companion piece previous to the late 1740s remains unknown: a wax seal on the back has not yet been identified.
461:
31:
322:
of their only son, also called Tobias, a scene that
Rembrandt had already represented in another version in 1630, in which Anna's spinning gear is minimally indicated. This is supported by an 18th-century source identifying a Rembrandt painting of exactly the same format representing a "Composition with Tobit and a winding stair." The Rembrandt Research Project dismisses this evidence as "certainly incorrect since there are two women in the picture and there is no specific motif from the story of Tobias-"
305:
tasks does not fit in with the solitude associated with study and meditation. Though a large book and a quill seem to be among the few objects on the table in front of the main figure, they are summarily depicted and impossible to identify more precisely: a Bible alone would not suffice to make the figure depicted a scholar or "philosopher." Staircases—whether spiral or not—were not an attribute of philosophy in the early 17th century. Similar observations argue against identifying the main figure as an "
288:
267:(Koninck) was purchased for 2,999 livres by a relative of the deceased, the marquis de Vence, who turned around and sold it to the duc de Choiseul, then Secretary of State for the Navy and War. Wanting to curry favor with the influential duc de Choiseul, Voyer offered to part with his treasured Rembrandt so that the latter could enjoy possession of both "Philosophers". And so, for another 3,000 livres the two paintings were reunited in 1762, not to be separated again until 1955.
390:: "Small pictures over which, in the past, there has been much spilling of good printer's ink with no marked results. The pictures are not wonderful...". With that, he attributed the paintings to Salomon Koninck, though one, today's Rembrandt, only tentatively. In 1955, examinations with X-rays and infrared photography at the laboratory of the Louvre revealed notable differences in treatment and caused the attribution to Rembrandt finally to be dropped.
1010:, II, p. 644: "Een wenteltrap van Rembrandt van Ryn met een oudt manneken sittende op eenen stoel" (1673) and ""Een wenteltrap van Rembrandt van Ryn" (1687). Here, as Clarke (1990) points out, the RRP uses the mention of a winding stair to support their hypothesis that the painting was intended as an exercise in perspective by a member of Rembrandt's studio or circle, but ignore the evidence of the mention of the master's name in this source.
538:(Benesch 64) with the caption "HARMAN GERRITS van der Rhijn" written in Rembrandt's hand that shows his father in a pose similar to that of Tobit here, suggests that he may have been blind at the end of his life. Accordingly, the figure of the blind old man (Tobit) would stand for Rembrandt's father (d. 1630), who opposed his son's wish to become an artist and whose vision the young Rembrandt (Tobias) "healed" with the help of the archangel
240:. Korthals Altes claims that Voyer already owned the Koninck when he acquired the Rembrandt, but cites no evidence. In fact, nothing is known of the earlier provenance of the Koninck, or which of the two paintings he acquired first. Assuming that it was the Rembrandt, Anne Leclair notes that: "At an unknown date, Voyer acquired a second 'Philosopher" that he deemed close enough in style and format to make it a pendant". In notes on his "
204:
of which would tally with a "0," "1" or "2." The type of signature—monogram plus patronymic—would argue for 1632, since the artist is known to have used this type of signature only in that year. This does not mean that the picture was painted in that year or even in
Amsterdam, to which Rembrandt had moved in late 1631. In any case, this type of signature is so rare in Rembrandt's oeuvre and date-specific that it argues for authenticity.
225:(Old Man with a winding stair). His disregard of the Tobit subject cited in the Fraula catalogue may be due to the fact that he did not attend the auction personally and that he did not own the catalogue. Voyer appears to be the originator of the old man's philosophical vocation, most likely inspired by the companion piece, which he also owned and which clearly shows a scholar in his study. Today, this former "pendant", titled
256:(Rembrandt). Significantly, the engraver reproduced the Koninck picture first and showed it at the Salon of 1753, while he reproduced the Rembrandt in the following year and showed it at the Salon of 1755. This was the beginning of a long series of graphic reproductions, both in France and Great Britain, that spread the fame of the two "Philosophers", while catering to the vogue for pendants.
213:
attributed to
Rembrandt, proved determinant. Summary mentions of a "Winding stair with a seated old man" in 17th-century inventories could apply to either painting. The earliest unambiguous reference to the painting is in the catalogue for the sale of the collection of the comte de Fraula in Brussels in 1738. The catalogue gives the measurements of the panel and the description:
450:
347:
192:
1087:, New York, C. Scribner's Sons, 1923, 114-5."One may be heretical enough to think that someone like Koninck or Dou may have painted them..." He continues with: "The second picture, with the light coming from the left, seems a companion piece, but there may be some doubt about its being by Koninck. Its assignment is tentative."
505:, whose symbolical subject-matter is nothing more or less than the human mind, with its teeming darknesses, its moments of intellectual and visionary illuminations, its mysterious staircases winding downwards and upwards into the unknown. The caption to an illustration of the painting (reversed) in the
321:
sources. The sole objection to this interpretation is that, apart from the two main figures—the blind Tobit and his wife Anna— there is no typical iconographic attribute, specifically Anna's spinning wheel. Nevertheless, a plausible interpretation of the scene is Tobit and Anna waiting for the return
203:
The panel is signed "RHL-van Rijn 163_" at the bottom and left of the center, at a vertical from the figure of the old man. The signature was traced with a fine brush in light pigment on a dark background and is quite difficult to make out. The last digit is a tiny blob of paint, the form and placing
493:
as the "purest expression of light and dark... All that you see here—the architecture and all the other features—merely provided the occasion for the real work of Art, which lies in the distribution of light and dark." This, he held, was precisely the essence of
Rembrandt's art. As it was, he showed
220:
The painting was bought by
Jacques de Roore, an agent bidding on behalf of Willem Lormier, art collector and dealer in The Hague, whose wax seal is still on the back of the panel. On 27 June 1748, Lormier sold the painting for Dfl. 525 to the French collector Marc-René Voyer, marquis d'Argenson. In
364:
lies in the fact that, in the second half of the 18th century, it was sold and collected together with a panel of identical size (28 x 33.5 cm) that presented similar motifs—in particular a spiral staircase—and was also attributed to
Rembrandt. The paintings were exhibited together and titled
406:
105), which is the only other known work by
Rembrandt that features a complete helical staircase. The traditional iconography of the Doctors of the Church and St. Jerome provided the attributes for 17th-century representations of scholars in their study, which included books, a globe, and often a
182:
Painted in oils on an oak panel measuring about 11 x 13 in. (28 x 34 cm), the painting depicts in slightly accelerated perspective two figures in a partially vaulted interior that is dominated by a wooden spiral staircase. The architecture includes stone, brick and wood, with arched elements
529:
in the
Jungian sense: an archetypal symbol of the integrated Self. The chiaroscuro treatment and the presence of many straight lines that are structured by curved lines speaks for an effort at reconciling oppositions. Further, Clarke interpreted the concentricity of the composition and wealth of
377:. The companion painting shows an old man in a vaulted interior seated in front of a table at a window on which we can see books, a globe, and a crucifix. These accessories and his solitary condition make him a more plausible candidate for philosophical pursuits than the old man in the so-called
304:
has to a large extent been responsible for the painting's popularity, it is iconographically untenable. The painting shows none of the conspicuous attributes of scholarship or philosophy—books, globe, scientific instruments, etc.—and the presence of at least one other figure involved in domestic
325:
Earlier inventory mentions of a "winding stair with an old man sitting on a chair" or "winding stair" attributed to
Rembrandt are vague and might even refer to the companion painting long attributed to Rembrandt, but now given to Salomon Koninck. Although the title in the Louvre's publications
212:
Close consideration of the known provenance explains how a Dutch scene of biblical domesticity could be turned into a French image of philosophical meditation. In this process, the role of the supposed companion piece (see below), with which it was paired for two centuries and which was also
126:
The painting was brought in the middle of the 18th century from The Hague to Paris, where it was associated with another painting ascribed to Rembrandt similar in size, style and motifs; i.e. a small figure in an interior with a spiral staircase (see "Companion piece"). Sold as pendants and
790:
See the page of Lormier's handwritten list reproduced in Everhard Korthals Altes, 2001, p. 289, which does not clearly indicate the year (1746? 1748?). Korthals Altes cites the date of sale as 21 June 1748, p. 271, Anne Leclair as 26 May 1748, p. 38. We follow the reading of the Rembrandt
247:
Although he waxed enthusiastic about these prized possessions, calling them "unique", by 1752, he had already sold them to his friend, Claude-Alexandre de Villeneuve, comte de Vence. The latter had the two reproduced for the catalogue of his collection by Louis Surugue with the titles
270:
The "Philosophers" continued their brilliant career in Paris, changing hands every few years: Randon de Boisset in 1772 (14,000 livres), Millon d'Ailly in 1777 (10,900 livres), who then sold it to the comte de Vaudreuil. The culmination came when the two pictures were acquired by
587:; Rembrandt's painting, with its interplay of light and dark, renders the experience of philosophical meditation visually perceptible. The Dutch philosopher Otto B. Wiersma (1999) published an article on the internet that he summarizes in these terms: "The painting of Rembrandt
582:
also pointed out the "ocular nature" of the scene and gave it a conceptual framework in his 1999 book "Neuronale Kunstgeschichte." The French philosophy professor RĂ©gine Pietra (1992) published an essay in which she used the painting to illustrate the rhetorical figure of
381:
who occupies a space shared by at least one other person, and maybe even two. In spite of the obvious differences in the composition and execution, its attribution to Rembrandt was never called into question. The exception is the American art historian
853:
Leclair, 2006, 42, transcribes the note: This passage remains as a sentence fragment: "Le hasard qui les a rassemblés l'un est plus fin l'autre a plus de piquant . . ." The French verb "rassembler" can mean either "brought together" or "brought back
703:, Springer, Dordrecht, 2011, 197. As Van de Wetering notes, "the paint layers were covered with an extremely thick, yellowed layer of varnish, as a result of which it is very difficult to get any clear insight into its pictorial characteristics."
393:
Jacques Foucart (1982), Curator for Dutch and Fleming Painting at the Louvre, like Horst Gerson (1968) and Werner Sumowski (1983), attributes this work to Salomon Koninck (1609–1656), a Rembrandt imitator, dating it to around 1645 and titling it
559:
of the luminous hermetic secret that Rembrandt wishes to transmit: the phenomenological secret that the eye of the genius will be given to those who will conquer the genius of the eye. It is the ineffable secret of this transmission itself, the
312:
The objects depicted suggest a domestic setting, yet the improbable architecture speaks more for a history than a genre subject. The French art historian Jean-Marie Clarke argues that the scene is ultimately derived from the Book of
434:(2011), which covers "small history paintings," the painting is classified without further ado as a "re-attribution" by the director of the RRP, Ernst van de Wetering. The painting was officially re-instated in vol. 6 of the
731:, Artabras Books, Harrison House, N.Y., 1968: "The date has always been regarded as 1633, but the last digit may just as well be read as a one or a two, which accords better with the style of this tender painting," 492.
2304:
330:
catalogues of Rembrandt's painted oeuvre, starting with Bredius (1935) identify the subject more soberly as a "Scholar in an Interior with a Winding Stair." With the rejection of the attribution to Rembrandt by the
1271:
V, p.196. "Wherever the question of a painting's raison d'ĂŞtre arises, there is a reflexive tendency to prioritise its iconographic meaning, but in the case of these paintings this approach yields very little of
2288:
2280:
969:, 63.8 x 47.7 cm. This painting at the National Gallery in London has been re-attributed to Rembrandt, with a possible participation by his student at the time, Gerrit Dou. David Bromford et al.,
259:
The comte de Vence died in 1760, stipulating in his testament that Voyer could choose two paintings from his collection. Interestingly enough, Voyer did not select the two "pendants", but only the
743:, II, 641: the members of the RRP who examined this painting in 1968 were unable to see the signature. However, subsequent examinations by Foucart (1982) and Clarke (1990) confirmed its presence.
542:("God heals", a name that also symbolizes Art). More recently, Clarke published an interpretation on the internet that relates Rembrandt's composition to the design of his signature in 1632.
263:(Rembrandt), thus separating the very pair that he had created and further attesting to the arbirariness of their association. At the sale of the comte de Vence's collection in 1761, the
127:
identified as "Philosophers", the paintings enjoyed great popularity, making the rounds of major aristocratic collections before being acquired for the royal collections housed in the
1778:
1754:
2046:
1281:
Rudolf Steiner, "The History of Art: Rembrandt" (lecture 5), 28 November 1916, Dornach (Eng. translation, Rudolf Steiner Library, Anthroposophical Society of America, N.Y., 9).
135:
treatment and the intricate composition were widely appreciated in France. The painting is mentioned in the writings of many 19th- and 20th-century literary figures, including
430:
This disattribution was not accepted by the Louvre and other Rembrandt scholars, and the newly configured RRP has changed its stance since then. In the fifth volume of the
2937:
686:, vol. 8, Filhol, Paris, 1814, pl. III. The third figure does not appear in the turn-of-the-century engraving by Timothy Cole in John Charles Van Dyke, Timothy Cole,
1890:
1586:
530:
circular motifs as metaphors for the underlying theme of the painting: the eye and vision. Like Julius Held, Clarke believes that the drawing dated ca. 1630 at the
2463:
2320:
123:" instead. This interpretation is given in an auction catalogue from 1738 (see "Subject matter"), the earliest known source that clearly refers to this painting.
2503:
2487:
2118:
2942:
1786:
1746:
119:
It is signed "RHL-van Rijn" and dated 1632, at the time of Rembrandt's move from Leiden to Amsterdam. Recent scholarship suggests that the painting depicts "
822:, II, 1986, p. 643. Lormier and the marquis d'Argenson are not mentioned in the Provenance section in volume II (1986, C51) or volume VI (2015, A86) of the
2451:
1219:, Foleor, Leiden, 2006, 229: "It is not understandable that the Rembrandt Research Project does not accept the picture as an original work by the master."
2246:
2150:
769:
vol. I, The Hague 1752, lot 135, p. 530 (Lugt 488). The French version of the catalogue gives it lot no. 136 and provides the correction measurements:
2742:
1610:
2435:
2384:
2312:
2182:
1982:
1818:
1658:
2582:
1096:
Madeleine Hours, "Rembrandt. Observations et présentation de radiographies exécutées d'après les portraits et compositions du musée du Louvre,"
1554:
398:. The subject matter and details of the Koninck picture seem to have been directly inspired by a Rembrandt etching dated 1642 that represents
2905:
2158:
2142:
1850:
2848:
2686:
1842:
1834:
2614:
2543:
2419:
1990:
1698:
1491:
236:
As late as 1982, the two paintings were believed to have shared the same provenance as far back as 1734, but this was disproved by the
2392:
2174:
2022:
1642:
2788:
2519:
2511:
2479:
2110:
2078:
1914:
1706:
1602:
1794:
2527:
2495:
2190:
2014:
1826:
1738:
1400:"Defined as a "vivid description of an action, event, person, condition, passion, etc. used for creating the illusion of reality"
809:"e marquis d'Argenson fut le premier auteur du regroupement de ces deux panneaux qu'il exposait 'en regard'. Leclair,. 2006, 38.
516:(1964) reads: "The inward-looking old man provides an image of Jung's belief that each of us must explore his own unconscious."
2932:
2702:
2376:
1810:
1722:
1674:
1529:
170:
The ongoing popularity of the painting may be measured by its presence on the internet, where it is often used as an emblem of
2710:
2563:
2551:
2535:
2471:
2296:
2062:
1962:
1650:
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1517:
612:
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688:
Old Dutch and Flemish Masters Engraved by Timothy Cole With Critical Notes by John C. Van Dyke and Comments by the Engraver
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2572:
2134:
1882:
1858:
1730:
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2567:
2038:
1874:
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1714:
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Jean-Marie Clarke (1980) advanced a psychological interpretation based on the circular form of the composition and the
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2328:
2070:
1998:
1930:
1906:
1594:
1521:
591:(1632, Louvre Paris) can be characterized as a pictorial meditation on the miracle of vision. A better title would be
419:, which covers the years 1631–1634, the Rembrandt Research Project (RRP) rejected the attribution to Rembrandt of the
2820:
2772:
2622:
2238:
2214:
2198:
2030:
1938:
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332:
237:
826:. See an up-to-date provenance in Korthals Altes, 2001, pp. 297-298, who also quotes a long note written by Voyer.
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2443:
2336:
2272:
2230:
2102:
2054:
1969:
1682:
1578:
63:
30:
2606:
2400:
1922:
1634:
1618:
1085:
Rembrandt and His School; a critical study of the master and his pupils with a new assignment of their pictures
482:
272:
2927:
2662:
2630:
2254:
2126:
1484:
713:
Jean-Marie Clarke, "Le Philosophe en méditation du Louvre: un tableau signé 'RHL-van Rijn' et daté '1632,'"
478:
460:
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2360:
1866:
1538:
386:, who whittled Rembrandt's oeuvre down to less than fifty paintings and made short shrift of the Louvre's
221:
his manuscript list of the 17 paintings that he sold to Voyer on that occasion, Lormier referred to it as
1460:
2796:
2764:
2756:
2748:
2654:
1770:
717:, 3, 1990, 193-94. For the author's English translation, see:https://rkd.nl/en/explore/technical/5007260
383:
1428:"Het is een kunst om te lezen: de dubbelzinnigheid van spiegelbeelden bij Rembrandt en Salomon Koninck"
1303:
Carl Gustav Jung (ed.), Joseph L. Henderson, Marie-Louise von Franz, Aniela Jaffé and Jolande Jacobi,
800:
Korthals Altes, 2001, 259, note 32, which lists the sale catalogues known to have belonged to Lormier.
2885:
2836:
2780:
2006:
1954:
140:
579:
287:
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501:(1954) sums up most of the "deeper" interpretations of the painting: "There hangs in the Louvre a
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2804:
2427:
1802:
1570:
1477:
679:
128:
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lines, interpreting the central motif of the painting (the basketwork tray) as "the navel, the
2878:
2694:
2352:
1066:
1161:
In the wording of the fragmentary note: "Le hasard qui les a rassemblé..." Leclair, 2006, 42.
1125:, vol. III, PVA, Landau, 1983, 1649 (cat. no. 1133): "Interieur mit meditierenden Gelehrter."
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For example, this figure is visible in the engraving of the painting by Devilliers l'aîné in
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1946:
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for the royal collection of Louis XVI in 1784 (13,000 livres) and given the honors of the
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1067:"034 (034, 27): To Theo van Gogh. Paris, Monday, 31 May 1875. - Vincent van Gogh Letters"
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2094:
1345:
950:
506:
486:
309:," a subject that would allow for other figures, such as an assistant tending a fire.
152:
144:
2921:
2866:
2812:
2638:
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498:
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only a "lantern slide" of the companion painting by Salomon Koninck discussed above.
427:, and it helped to determine the image of Rembrandt's art to an unwarranted extent."
318:
314:
276:
164:
148:
120:
1455:
1399:
1242:
A Corpus of Rembrandt Paintings. Rembrandt's Paintings Revisited. A Complete Survey,
595:, because the painting catches the eye in more than one sense." A discussion of the
561:
520:
403:
160:
131:
Palace. The presumed subject matter of philosophical meditation, the finely graded
58:
1023:
the title it was given in 1753 by Louis Surugue when he engraved its reproduction.
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1441:
http://objectiveandsacredart.ning.com/forum/topics/the-philosopher-in-meditation
565:
136:
132:
244:" set down around 1750, Voyer pointed out that "chance brought them together".
712:
474:
171:
335:
in 1986, the title became "Old Man in an interior with a winding staircase."
1500:
449:
113:
51:
1464:
878:
Absorption and Theatricality. Painting and Beholder in the Age of Diderot
600:
555:
241:
1358:
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haut 11 pou(ces) & demi, large 1 p(ied) & 2 pou(ces) & demi.
346:
191:
539:
525:
306:
73:
28 cm Ă— 34 cm (11 in Ă— 13 in)
571:
550:
535:
105:
81:
891:
The Rise and Fall of the Fine-Art Print in Eighteenth-Century France
701:
A Corpus of Rembrandt Paintings, vol. V, The Small History Paintings
215:
Een Ordonnantie met Tobias, ende eenen drayenden Trap, door Rimbrant
1387:
Neuronale Kunstgeschichte. Selbstdarstellung als Gestaltungsprinzip
865:
Picture Titles. How and Why Western Paintings Acquired their Titles
459:
448:
345:
286:
190:
109:
104:
by the museum, is the traditional title of an oil painting in the
85:
665:
Jean-Marie Clarke, "Le Philosophe en méditation, de Rembrandt,"
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1473:
1372:
Jean-Pierre Dautun "Le Philosophe en méditation de Rembrandt",
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Catalogus of Naamlyst van Schildereyen met derzelver pryzen...,
545:
Jean-Pierre Dautun (1983), a student of the French philosopher
360:
The explanation for the long-standing misinterpretation of the
217:(A Composition with Tobit, and a Winding Stair, by Rembrandt).
411:
Rembrandt Research Project: disattribution and re-attribution
195:
Engraved reproduction by Devilliers l'aîné after Rembrandt's
1469:
1414:
Sage comme un image. Figures de la philosophie dans les arts
669:, Ecole Nationale Supérieure des Beaux-Arts, 6, 1980, 132.
469:
Esoteric, psychological, and philosophical interpretations
893:, U. of Toronto Press, see the chapter "Pendants," 54-65.
603:
lines can be found on the Objective Art website (2011).
1779:
Pendant portraits of Maerten Soolmans and Oopjen Coppit
1755:
Diana Bathing with her Nymphs with Actaeon and Callisto
523:-like distribution of light, reading the painting as a
112:, that is attributed to the 17th-century Dutch artist
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that is his painting, as if to permit an Occidental
549:, offered a detailed phenomenological reading along
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2726:
2562:
2411:
2264:
1528:
77:
69:
57:
47:
23:
174:, or interpreted along esoteric or occult lines.
973:, Yale University Press, New Haven, 2006, 62-69.
667:Cahiers de Psychologie de l'art et de la culture
635:, Éditions de la R.M.N., Paris, 1982, 19-23, 89.
1587:Bust of a Man Wearing a Gorget and Plumed Beret
652:de Rembrandt: une passion de collectionneurs,"
2464:Self-Portrait Wearing a White Feathered Bonnet
1040:, Penguin Books, London, 1985, 198: cat. 214,
440:Interior with a window and a winding staircase
2504:Self-Portrait with Beret and Turned-Up Collar
2488:Self-Portrait in a Black Beret and Gold Chain
1485:
654:La Revue des Musées de France-Revue du Louvre
578:of his own devise." The German art historian
8:
1891:The Archangel Raphael Leaving Tobias' Family
1244:vol. VI, Springer, Dordrecht, 2015, 523-24.
1217:Young Rembrandt: The Leiden Years, 1606-1632
1098:Bulletin des Laboratoires du Musée du Louvre
2452:Portrait of a Young Man with a Golden Chain
1292:The Doors of Perception and Heaven and Hell
121:Tobit and Anna waiting for their son Tobias
2151:Ahasuerus and Haman at the Feast of Esther
1492:
1478:
1470:
985:, II, p. 644: See Provenace section above.
781:See Clarke, 1990, figs. 11 and 12, p. 199.
29:
20:
1357:
1307:, Doubleday, Garden City N.Y., 1964, 103.
1178:
1176:
648:, 644. See also, Anne Leclair, "Les deux
2938:Paintings in the Louvre by Dutch artists
1294:, Harper & Brothers, N.Y., 1954, 95.
1019:In 2019, the official title reverted to
2313:Portrait of a Man Rising from His Chair
1659:The Anatomy Lesson of Dr. Nicolaes Tulp
624:
1555:Suffer little children to come unto me
1042:Scholar in a room with a winding stair
957:, Gehenna Press, Northampton MA, 1964.
690:, The Century Co., New York, 1901, 32.
646:Corpus of Rembrandt Paintings, vol. II
2143:Moses Breaking the Tablets of the Law
7:
2687:Descent from the Cross by Torchlight
1843:Samson Threatening His Father-In-Law
633:Les Peintures de Rembrandt au Louvre
2943:Cultural depictions of philosophers
2420:Self-Portrait with Dishevelled Hair
1344:Jean-Marie Clarke (November 2016).
442:and the parenthetical information:
2393:Portrait of a Man with Arms Akimbo
2175:The Conspiracy of Claudius Civilis
1416:, Editions du FĂ©lin, 1992, 105-15.
1170:See Clarke, 1990, fig. 12, p. 199.
1038:Rembrandt: His Life, His Paintings
14:
2520:Self-Portrait as the Apostle Paul
2119:Jacob Blessing the Sons of Joseph
2111:The Anatomy Lesson of Dr. Deijman
1915:Landscape with the Good Samaritan
880:, UCLA Press, 1980, 194, note 85.
497:With his inversion of the title,
2743:Cultural depictions of Rembrandt
2528:Self-Portrait as Zeuxis Laughing
2015:Abraham Serving the Three Angels
756:, II, 644, for early provenance.
18:Painting attributed to Rembrandt
2703:The Virgin and Child with a Cat
2377:Portrait of Catharina Hooghsaet
1811:The Prodigal Son in the Brothel
1723:The Storm on the Sea of Galilee
955:Rembrandt and the Book of Tobit
373:, or referred to simply as the
2711:Christ Presented to the People
2552:Self-Portrait at the Age of 63
2536:Self-Portrait with Two Circles
2472:Self-Portrait at the Age of 34
2297:Portrait of Jacob de Gheyn III
2247:The Return of the Prodigal Son
2063:Aristotle with a Bust of Homer
1651:Andromeda Chained to the Rocks
902:Leclair, 2006, 41 and note 35.
818:Foucart, 1983, 89 and 98, and
699:Ernst van de Wetering et al.,
613:List of paintings by Rembrandt
425:Le Philosophe en contemplation
317:, one of Rembrandt's favorite
1:
2776: (1954 documentary film)
2191:Syndics of the Drapers' Guild
1883:The Preacher Eleazar Swalmius
1731:A Lady and Gentleman in Black
1350:Journal for Artistic Research
1123:Gemälde der Rembrandt-Schüler
438:under no. A86 with the title
417:Corpus of Rembrandt Paintings
396:Philosopher with an Open Book
351:Philosopher with an Open Book
341:Philosopher with an Open Book
227:Philosopher with an open book
1875:Landscape with Arched Bridge
1819:Raising of the Cross (study)
1715:The Shipbuilder and his Wife
1611:The Parable of the Rich Fool
1547:The Stoning of Saint Stephen
1248:is translated as "roomlight"
1021:Philosophe en contemplation,
971:Art in the Making: Rembrandt
454:St. Jerome in a Dark Chamber
415:In the second volume of its
400:St. Jerome in a dark chamber
298:While the traditional title
101:Philosopher in Contemplation
40:Interior with Tobit and Anna
2345:Portrait of Petronella Buys
2329:Portrait of Marten Soolmans
2305:Aeltje Pietersdr Uylenburgh
2183:Saint Matthew and the Angel
2071:A Woman Bathing in a Stream
1999:The Holy Family with Angels
1983:The Woman Taken in Adultery
1931:The Girl in a Picture Frame
1907:The Wedding Feast of Samson
1595:Tobit and Anna with the Kid
1346:"The Rembrant Search Party"
464:Père de Rembrandt vers 1630
371:Philosophe en contemplation
294:by Rembrandt and Dou (1630)
261:Philosophe en contemplation
254:Philosophe en contemplation
2964:
2773:Rembrandt: A Self-Portrait
2583:Joseph and Potiphar's Wife
2199:Homer Dictating his Verses
1939:The Scholar at the Lectern
835:Korthals Altes, 2001, 274.
684:Galerie du musée de France
477:in Dornach (1916), the ex-
473:In a lecture given at the
379:Philosopher in Meditation,
333:Rembrandt Research Project
238:Rembrandt Research Project
223:Oud Mannetje en wenteltrap
2895:
2829:I Am Rembrandt's Daughter
2738:Bibliography of Rembrandt
2444:Self-Portrait in a Gorget
2337:Portrait of Oopjen Coppit
2273:Portrait of Nicolaes Ruts
2231:Young Woman with a Lapdog
2159:The Denial of Saint Peter
1691:Philosopher in Meditation
1683:Old Man with a Gold Chain
1579:The Baptism of the Eunuch
1507:
1389:, Springer, 1999, 248-250
597:Philosopher in Meditation
421:Philosopher in Meditation
362:Philosopher in Meditation
301:Philosopher in Meditation
197:Philosopher in Meditation
95:Philosopher in Meditation
64:Dutch Golden Age painting
36:Philosopher in Meditation
28:
24:Philosopher in Meditation
2607:The Artist and his Model
2401:Portrait of Dirck van Os
2321:Oval Portrait of a Woman
1923:Still Life with Peacocks
1835:The Entombment of Christ
1635:Anna and the Blind Tobit
1619:The Artist in his Studio
967:Anna and the Blind Tobit
589:Philosophe en méditation
503:MĂ©ditation du Philosophe
483:Anthroposophical Society
367:Philosophe en méditation
328:Philosophe en méditation
292:Anna and the Blind Tobit
273:Alexandre Joseph Paillet
265:Philosophe en méditation
250:Philosophe en méditation
2615:The Death of the Virgin
2255:Landscape with a Castle
2127:Courtesan at her Mirror
1699:The Abduction of Europa
1374:Cahiers Raymond Abellio
1240:Ernst van de Wetering,
1083:John Charles Van Dyke,
889:W. McAllister Johnson,
489:, described the Louvre
444:"a study in Kamerlicht.
2933:Paintings by Rembrandt
2361:Portrait of Maria Trip
2047:Descent from the Cross
2023:Susanna and the Elders
1867:The Blinding of Samson
1787:Descent from the Cross
1747:Descent from the Cross
1643:The Raising of Lazarus
1426:Wiersma, Otto (1999).
1194:Clarke, 1990, 191-200.
1006:See the Provenance in
867:, Princeton, 2015, 84.
863:Ruth Bernard Yeazell,
644:See the Provenance in
593:MĂ©ditation visionnaire
465:
457:
357:
295:
200:
2655:Hundred Guilder Print
2079:Bathsheba at Her Bath
1707:Adoration of the Magi
1603:The Flight into Egypt
1334:Clarke, 1980, 115-86.
1258:Corpus, II, 642-644.
1152:Clarke, 1980, 121-28.
1143:Clarke, 1990, 194-95.
463:
452:
349:
290:
194:
2886:Vereniging Rembrandt
2837:The Rembrandt Affair
2821:Rembrandt's J'Accuse
2781:Rembrandt fecit 1669
1955:Concord of the State
1827:The Rape of Ganymede
1739:Raising of the Cross
1376:, 1, 1983, 42-51, 51
1215:Roelof van Straten,
929:Clarke, 1980, 138-9.
2948:Paintings of Tobias
2671:Goldweigher's Field
2647:Portrait of Jan Six
2369:Portrait of Jan Six
2289:Portrait of a Woman
1851:The Standard Bearer
1675:Christ on the Cross
1667:Christ with a Staff
1359:10.22501/jar.250318
1305:Man and His Symbols
1056:, II, 638-44, C 51.
729:Rembrandt Paintings
514:Man and His Symbols
481:and founder of the
229:, is attributed to
98:, recently renamed
2824:(2008 documentary)
2805:Stealing Rembrandt
2792: (1995 novel)
2789:The Anatomy Lesson
2428:Rembrandt Laughing
1963:David and Jonathan
1795:Belshazzar's Feast
1627:Samson and Delilah
1571:Balaam and the Ass
1325:Clarke, 1990, 198.
1316:Held, 1964, 26-27.
1134:Foucart, 1982, 98.
1071:vangoghletters.org
920:Leclair, 2006, 42.
911:Leclair, 2006, 41.
844:Leclair, 2006, 38.
599:along essentially
466:
458:
358:
296:
201:
2915:
2914:
2800: (1999 film)
2768: (1942 film)
2760: (1940 film)
2752: (1936 film)
2695:The Three Crosses
2385:Portrait of a Man
2353:A Polish Nobleman
2281:Portrait of a Man
2135:Saint Bartholomew
1510:Lists of drawings
1121:Werner Sumowski,
656:, 5, 2006, 38-43.
631:Jacques Foucart,
339:Companion piece:
141:Théophile Gautier
91:
90:
2955:
2908:
2901:
2679:Doctor Fautrieus
2599:River with Trees
2207:The Jewish Bride
2087:The Polish Rider
2039:The Kitchen Maid
1899:The Stone Bridge
1563:History Painting
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1456:Research Project
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384:John C. Van Dyke
365:interchangeably
157:Gaston Bachelard
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2663:Conus Marmoreus
2631:The Three Trees
2591:Bearded Old Man
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2167:Titus as a Monk
1947:The Night Watch
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765:GĂ©rard Hoet,
761:
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456:by Rembrandt
453:
443:
439:
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416:
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399:
395:
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388:Philosophers
387:
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181:
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161:Paul Claudel
125:
118:
100:
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94:
93:
92:
39:
35:
15:
2816:(2007 film)
2808:(2003 film)
2784:(1977 film)
2728:Works about
2658:(1647–1649)
2571:(including
2539:(1665–1669)
2250:(1662–1669)
2050:(1650–1652)
2010:(1645–1648)
1710:(1632–1633)
650:Philosophes
601:Gurdjeffian
585:hypotyposis
567:mutus liber
491:Philosopher
479:theosophist
375:Philosophes
178:Description
153:Paul Valéry
137:George Sand
133:chiaroscuro
2922:Categories
2058:(c. 1652)
1539:The Senses
1272:interest."
1246:Kamerlicht
1206:, II, 642.
1185:, II, 641.
997:, II, 642.
854:together".
619:References
564:' of this
510:C. G. Jung
475:Goetheanum
208:Provenance
172:philosophy
70:Dimensions
2900:Contested
2879:Rembrandt
2872:Rembrandt
2849:Namesakes
2797:Rembrandt
2765:Rembrandt
2757:Rembrandt
2749:Rembrandt
2730:Rembrandt
2547:(c. 1669)
2404:(c. 1662)
2265:Portraits
2226:(c. 1665)
2106:(c. 1655)
1926:(c. 1639)
1822:(c. 1635)
1814:(c. 1635)
1771:Artemisia
1686:(c. 1631)
1638:(c. 1630)
1630:(1629–30)
1598:(c. 1626)
1542:(1624–25)
1530:Paintings
1518:paintings
1501:Rembrandt
1231:, V, 197.
1034:loc. cit.
791:Database.
307:alchemist
187:Signature
114:Rembrandt
52:Rembrandt
2874:(crater)
2623:The Mill
2573:etchings
2564:Drawings
2457:disputed
2455:(1635) (
2447:(c.1629)
2239:Lucretia
2215:Lucretia
2007:The Mill
1514:etchings
1111:Op. cit.
1109:Gerson,
939:Op. cit.
607:See also
556:omphalos
521:Yin-Yang
326:remains
242:pendants
78:Location
59:Movement
2882:(train)
2218:(1664)
2090:(1655)
1803:Minerva
1726:(1633)
1558:(1620s)
1269:Corpus,
1204:Corpus.
551:Gnostic
540:Raphael
526:Mandala
404:Bartsch
2714:(1655)
2706:(1654)
2698:(1653)
2690:(1652)
2682:(1652)
2674:(1651)
2666:(1650)
2650:(1647)
2642:(1646)
2634:(1643)
2626:(1641)
2618:(1639)
2610:(1639)
2602:(1634)
2594:(1634)
2586:(1634)
2568:prints
2555:(1669)
2531:(1662)
2523:(1662)
2515:(1660)
2507:(1659)
2499:(1658)
2491:(1654)
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2431:(1628)
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2396:(1658)
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2356:(1637)
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2242:(1666)
2234:(1665)
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2202:(1663)
2194:(1662)
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2154:(1660)
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2130:(1657)
2122:(1656)
2114:(1656)
2098:(1655)
2082:(1654)
2074:(1654)
2066:(1653)
2042:(1651)
2034:(1648)
2026:(1647)
2018:(1646)
2002:(1645)
1994:(1645)
1986:(1644)
1978:(1643)
1966:(1642)
1958:(1642)
1950:(1642)
1942:(1641)
1934:(1641)
1918:(1638)
1910:(1638)
1902:(1637)
1894:(1637)
1886:(1637)
1870:(1636)
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1854:(1636)
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1830:(1635)
1806:(1635)
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1790:(1634)
1782:(1634)
1774:(1634)
1766:(1634)
1758:(1634)
1750:(1633)
1742:(1633)
1734:(1633)
1718:(1633)
1702:(1632)
1694:(1632)
1678:(1631)
1670:(1631)
1662:(1631)
1654:(1631)
1622:(1628)
1614:(1627)
1606:(1627)
1590:(1626)
1582:(1626)
1574:(1626)
1566:(1626)
1550:(1625)
1465:rkd.nl
1352:(11).
1229:Corpus
1183:Corpus
1054:Corpus
1008:Corpus
995:Corpus
983:Corpus
941:, 198.
824:Corpus
820:Corpus
754:Corpus
741:Corpus
572:satori
536:Oxford
436:Corpus
432:Corpus
199:(1814)
163:, and
129:Louvre
82:Louvre
48:Artist
1859:Danaë
1763:Flora
574:to a
315:Tobit
110:Paris
86:Paris
2566:and
1975:Ruth
1973:and
1971:Boaz
752:See
576:koan
369:and
38:(or
1354:doi
534:in
512:'s
353:by
2924::
1520:,
1516:,
1512:,
1348:.
1175:^
1069:.
953:,
682:,
485:,
279:.
233:.
167:.
159:,
155:,
151:,
147:,
143:,
139:,
116:.
108:,
84:,
2575:)
2459:)
1493:e
1486:t
1479:v
1430:.
1402:.
1362:.
1356::
1073:.
1044:.
560:'
402:(
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