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Seated Female Nude
Currently Off View
Prints and Drawings
Seated Female Nude
Date:
1660/62
Artist:
Rembrandt van Rijn Dutch, 1606-1669
About this artwork
For Rembrandt van Rijn, elementary honesty of vision and sureness of line were far more important than the classical glorification of the nude. He focused on this subject only during certain phases of his career, and very few of the resulting studies, which he used to prepare biblical or mythological representations, survive today. This strong form is a late piece of work, and one of only four extant drawings of the female nude attributed to Rembrandt with certainty. Unlike the almost scientific realism of his earlier nudes, his late studies are less detailed and more painterly. He attained a maximum of expression with a minimum of means. Rendered with a swift treatment past brush and the blunt reed pen favored by the artist in his late years, this ample effigy projects a forceful presence. Her face is generalized, and her feelings are suggested through her wistful pose. Her simple shape and external immobility seem to increase the viewer's sense of her inner vitality. In Seated Female Nude, Rembrandt's penstrokes and brushwork are integrated with the utmost lightness and perfection; the pen stresses structural features, while the brush provides a transparent, atmospheric tone linking effigy and space.
Condition
Currently Off View
Department
Prints and Drawings
Artist
Rembrandt van Rijn
Title
Seated Female Nude
Origin
Kingdom of the netherlands
Engagement
1660–1662
Medium
Pen and brown ink and brush and dark-brown wash, with subtractive highlights (scraping) and touches of opaque white watercolor corrections, on ivory laid newspaper, laid downward on cream laid card
Dimensions
212 × 175 mm (master/secondary supports)
Credit Line
Clarence Buckingham Collection
Reference Number
1953.38
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A. A. Sidorov, Risunki starykh masterov; tekhnika, teoriia, istoriia (Moscow-Leningrad: Gosudarstvennoe izdatel'stvo "Iskusstvo", 1940), p. 242 (sick.).
Hanna Prinz, Das Thema des Weiblichen Aktes in Meister-und Schülerzeichnungen aus Rembrandt'due south Spätzeit (Marburg, 1945), p. 100 and 126.
Jakob Rosenberg, Rembrandt (Cambridge, Mass: Harvard Academy Printing, 1948), vol. I, p. 153; vol. 2, pl. 222.
Harold Joachim, "Three Drawings by Rembrandt," The Fine art Institute of Chicago Quarterly, 48 (Feb. 1954), pp. 10–12 (sick.).
Frits Lugt, Les Marques de Collections de Dessins & d'Estampes (The Hague, 1956), p. 239, no. 1718; and online edition past the Fondation Custodia, consulted 08/09/2018, http://world wide web.marquesdecollections.fr/detail.cfm/marque/8198/total/1
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Jeroen Giltaij, The Drawings past Rembrandt and His School in the Museum Boymans-van Beuningen (Rotterdam, 1988), p. 316, fig. a (ill.).
Paul Huys Janssen, Werner Sumowski, The Hoogsteder Exhibition of Rembrandt's Academy, exh. true cat. (The Hague and Zwolle, Hoogsteder & Hoogsteder and Waanders Publishers, 1992), p. 31 (ill).
James Due north. Wood, Teri J. Edelstein, and Emerge Ruth May, The Art Institute of Chicago: The Essential Guide (Chicago, 1993), p. 204 (ill.).
Dirk Bijker, Arent de Gelder, 1645–1727: Rembrandts laatste leering, exh. cat. (Gent: Snoeck-Ducaju & Zoon, 1998), pp. 117-18, fig. 12.
Ruth Fine, Raymond Hernàndez-Duràn, and Mark Pascale, Gimmicky American Realist Drawings, The Jalane and Richard Davidson Drove at The Art Institute of Chicago, exh. cat. (New York, 1999), pp. 21-22, fig. fourteen.
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New York, Pierpont Morgan Library, Rembrandt Drawings from American Collections, Mar. 15–Apr. sixteen, 1960, pp. 52–53, cat. 74, pl. 66; also Cambridge, Mass., Fogg Art Museum, Harvard Academy, Apr. 27–May 29, 1960.
New York, Wildenstein and Company, Master Drawings from The Fine art Institute of Chicago, October. 17–Nov. 30, 1963, n.p., cat. 32.
Art Establish of Chicago, Rembrandt Later on Three Hundred Years, October. 25–Dec. 7, 1969, pp. 176 and 228–229 (ill.), cat. 137; also the Detroit Establish of Art, Feb. 24–April. v, 1970; and the Minneapolis Institute of Arts, Dec. 22, 1969–Feb. ane, 1970.
Washington, D.C., The National Gallery of Fine art, Seventeenth Century Dutch Drawings from American Collections, Jan. 30–Mar. 13, 1977; also The Denver Fine art Museum, Apr. 1–May xv, 1977, and the Kimbell Art Museum, Fort Worth, Tex., June ane–July x, 1977, cat. xl, pp. 45–47.
Washington, D.C., The National Gallery of Art, Dutch Figure Drawings from the Seventeenth Century, Apr. 11–June 30, 1982, frontis; pp. 56–57 (fig. ii) and 142, cat. 84; also Amsterdam, Rijksmuseum, Dec. 19, 1981–February. 21, 1982.
Cambridge, Mass., Arthur One thousand. Sackler Museum, Harvard University, Rembrandt and His School: Drawings from the Museum Boymans-van Beuningen Rotterdam, December. 2, 1989–Jan. 28, 1990 (no cat).
Amsterdam, Rijksmuseum, Rembrandt: The Master and His Workshop, Dec. iv, 1991–Jan. 19, 1992, cat. 38, pp. 126-127 (ill.); also Berlin, Altes Museum, Sept. 12–Oct. 27, 1991.
London, Royal Academy of Arts, Rembrandt'southward Women, Sept. 22–December. 16, 2001, p. 46 (item ill), p. 50, true cat. 135 (sick.), p. 232.
Boston, Museum of Fine Arts, Rembrandt's Journeying: Painter, Draftsman, Etcher, Oct. 26, 2003–Jan. 18, 2004, pp. 287–288 (ill.), 290–291, and 331, true cat. 200; also the Fine art Constitute of Chicago, Feb. 14–May ix, 2004.
Los Angeles, J. Paul Getty Museum, Drawings by Rembrandt and His Pupils: Telling the Difference, December. 8, 2009–February. 28, 2010, p. 236 and 261, true cat. 41.1.
Amsterdam, The Rembrandt House Museum, Rembrandt'due south Naked Truth: Cartoon Nude Models in the Golden Age, February. 12–May 16, 2016, pp. 41–42 (ill.), 146 (ill.), 148, 150, 152, 163, and 165–166, fig. 34, cat. 54.
The Art Establish of Chicago, "Rubens, Rembrandt, and Drawing in the Golden Age", September 28, 2019 - January 5, 2020, pp. xxx, 124-25 (ill.), 128-29, 309-10, cat. 39, cat. past Victoria Sancho Lobis, et. al.
Louis Corot (c. 1840–c. 1930), Nimes [postage stamp (Lugt 1718), recto, lower left, in black]; sold to Richard (an art dealer), Paris, in 1924 [Lugt 1718]. Alfred Strölin (1871–1954) and/or his son Alfred Strölin (1912–1974), Paris and Lausanne, by 1935 [Benesch 1935]; sold to the Fine art Institute of Chicago, 1953.
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