Rembrandt at the National Gallery

This blog post is a write up of Room 44 at the National Gallery which is an intimate space with some really exquisite & captivating portraits by Rembrandt. Feel free to see my other write ups. I love going to galleries and writing about art.

Rembrandt van Rijn is one of the great masters. His visual art is utterly moving and captivating. I also love his family name “Van Rijn” refers to the river Rhine which flowed through his birthplace Leiden. Beautiful name.

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Rembrandt’s Self Portrait (aged 34) — 1640

Beautiful. Partially-lit in a darkened alcove makes for a very captivating and fascinating portrait.

I believe this was influenced by Titian — or perhaps, the other way round?

There is a certain dignified gravity in his manner. Rembrandt is here clearly wealthy, successful and confident. His use of light reminds me of Caravaggio and the Italian Baroque paintings.

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Portrait of Aechje Claesdr

Wow.

I think this was Rembrandt’s grandmother. It is so lovingly done and moving.

The subject evokes a fragile and tender feeling. Her elegant and delicately-pleated white ruffs balance her compelling face.

I think her unmet gaze, furrowed eyebrows, pursed lips, heavy eyes, bulbous nose create a melancholic face, even forlorn. Makes me feel protective and, as though, I want to embrace her warmly.

Rembrandt paints the deeper character of his subjects, and skillfully depicts the effects of age with some tenderness. 

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Saskia van Uylenburgh in Arcadian Costume

Rembrandt made this portrait of his wife Saskia in the year after their marriage. She ended up dying at the age of just 30!

She is depicted as Flora, the Roman goddess of spring.

Here, she appears with an armful of flowers in a gleaming opulent dress. She appears pregnant; and indeed she was. Their first child, Rombertus, named after her father died at birth.

I think it’s very sweet.

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Portrait of Philips Lucasz

Very engrossing and beautifully painted.

Even the unruffled hair seems rather elegant and refined as his lace collars and the golden chain.

Philips Lucaszoon was an important official with the Dutch East India Company. 

Rembrandt painted this portrait shortly before Philips left for Batavia (Jakarta, Indonesia), where he died some years later.

If you notice, there is a thick and rather strange “un-contoured” line between his lips. According to the NG:

“Although both are signed by Rembrandt himself, there is a clumsiness to the execution of this one which suggests that one or more of his assistants may have had a hand in it. The thick black line representing the shadow between the sitter’s lips is quite rudimentary, for example. But it’s also possible that Rembrandt was forced to finish the painting quickly, and that what we see here are simply signs of overhasty work.” 

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A Man seated reading at a Table in a Lofty Room — by follower of Rembrandt

This painting is considered to be the work of an early follower. 

The details and vivid contrasts of light and shadow imitate Rembrandt’s style from his early years, when he worked in his native Leiden (1625-31).

In the detail, the cracks and shadows in the walls ornately & meticulously painted.

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Anna and the Blind Tobit

This is the story of Anna, her husband and their son Tobias is told in the Book of Tobit. 

Light envelops a room through an open window. God tested their faith by reducing them to poverty and blinding Tobit.

The light pours onto Tobit, the old man. He sits facing the room, partially-lit, hands clasped, head lowered, in a meditative pose. He sits near his wife Anna, winding wool. 

It’s beautiful and quite moving.

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Ecce Homo

Ecce homo is latin for “behold the man” – the words Pontius Pilate used to present Jesus of Nazareth to a hostile crowd ahead of his crucifixion (John 19:5).

Pilate — wearing an exotic turban striking a sagacious bearing — rises to his feet; while the Sanhardians are depicted by Rembrandt as being distorted & ugly caricatures clamouring towards Pilate. Presumably to kill Jesus. This is the Pauline gospels of the NT. This would be radically different from the Jerusalem sect of the Jesus followers under St James. Also, a monument of Tiberius on the right. Also, interesting that the warm shining light focuses not on Christ and his crown of thorns (who turns his sight away) — but on the Jewish priests. 

The painting evokes the chaos and mob.

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Portrait of Margaretha de Geer

Margaretha de Geer was the wife of a wealthy Dutch merchant (Jacob Trip portrait below). 

Her softly wrinkled flesh is captured with solemnity and sensitivity. Her millstone ruff seems to radiate. Mind you, she does seem somewhat aloof. 

Amazing how Rembrandt captures the languid slightly-sunken eyes, narrow lips, patches of darker reddish hue on her cheeks.

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Portrait of Hendrickje Stoffels

This is quite interesting, and intimately beautiful.

It seems Hendrickje Stoffels may have been Rembrandt’s mistress — after the death of Saskia. Though the National Gallery says this isn’t absolutely clear. She entered the household as a nurse to his young son Titus. 

Expensive pearl earrings, golden chains, arm resting on a gilded chair, luxurious white fur. She is painted with magnificence.

There is a hint of a breast and it’s suggestive of a romantic connection. There is a sweet tenderness to her.

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A Woman bathing in a Stream — Hendrickje Stoffels?

This makes me smile. It’s tender and intimate; but also quite silly.

This lady wades into a small pool, robes behind her, almost up to her knees in a stream. Smilingly, she lifts her shift in the pleasure of the cool water against her legs.

According to the gallery:

“Although it’s not certain, this woman may be Hendrickje Stoffels, who came into Rembrandt’s household to look after his infant son after his first wife, Saskia, died. Hendrickje and Rembrandt became lovers but were unable to marry. In the year this picture was painted, Hendrickje endured public humiliation because she was pregnant outside of marriage. Perhaps the painting was a homage to her strength and loyalty.”

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Portrait of Margaretha de Geer

Amazing.

Another Margaretha de Geer. She was obviously wealthy lady alongside her husband Jacob, Trips the merchant family.

Margaretha here seems to exert a force of character, will, and intelligence. I like the frontal pose, phlegmatic and resolute.

Can’t believe how enormous those millstone collars were! 

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Portrait of Jacob Trip

Jacob Trip was one of the richest men in Holland.

It seems to me Jacob is painted with respect and dignity. He is given august and stately loose-flowing gowns and vestments. He seems to occupy an ornate ceremonial & throne-like chair. Floating almost. The rod, lightly clasped in his hand, as a symbol of authority.

The face is self-assured man, stolid, philosophical, distinguished. While his frailty is quite clear, Rembrandt doesn’t allow any fragility to overtake his solemnity. 

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An Old Man in an Armchair — Probably by Rembrandt

God. I love this.

There is something very moving in Rembrandt’s depictions of the elderly and senescent. Perhaps, part of our natural affection to our grandparents?

I find this old-timer’s deep contemplation — and slight anxiety or restlessness — quite moving and engrossing. There is an unease to this painting, and the lambent light adds to the effect. He seems slumped on his chair, one hand gripping the wooden arm and the other lightly massaging his temple, his eyes cast downwards distantly, and some of his torso caught under a shadow. The furrowed head and thin side-tufts of hair add to the effect.

Pretty amazing.

Bold, intense, heavy brushstrokes.

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A Seated Man with a Stick — Follower of Rembrandt

Dramatic painting.

Lit on one-side, walking-stick in hand, and a haughty gaze. He seems to have a raised eyebrow, suggesting impatience? It’s an interesting face on a shimmering luxurious aureate silk garments. 

A very imposing figure. 

But not Rembrandt himself it seems. According to the National Gallery:

“X-ray images reveal that the figure has been painted over a rather roughly sketched image of the Crucifixion, suggesting that this was a piece of canvas on which a previous composition had been tried but then abandoned, before being re-used for this painting.”

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An Elderly Man as Saint Paul

Love it.

There is a deep introspective, reflective and sereneness to St Paul. Love the red chapeau (almost falling off!!) & wisps of hair to the sides. Hands folded, and gazing into the distance ... this also makes for a striking painting.

Apparently, painting is a portrait of some contemporary sitter in the guise of Paul. 

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Portrait of Frederick Rihel on Horseback

I might have to revisit this painting. It is huge & I struggled to capture it, with the light shining behind me in the museum.

The subject Frederick Rihel was a wealthy Amsterdam businessman. It is supposed to commemorates his part in welcoming William of Orange into Amsterdam in 1660.

I do like the vividly yellow jerkin, gloves and shimmering sleeves and plumed hat against a rather gloomy background. But it does rather lack in personalities of the above portraits; and the horse doesn’t seem to have potence and energy of a classic Rembrandt?