For the woman, Rembrandt probably used his wife Saskia as model. Calle Ruiz de Alarcón 23. 85 n.11. On the right, behind the seated woman, the folds of a dark red curtain can be made out. Catálogo razonado, Museo Nacional del Prado, Madrid, 2009, pp. Museo Nacional del Prado. Hinterding, E. et al., Rembrandt. Inventario general de pinturas (I) La Colección Real, Museo del Prado, Espasa Calpe, Madrid, 1990, pp. 25.09.1999 - 04.01.2000, Intercambio con Roma Sa vie et ses oeuvres, Martinus Nijhoffl, La Haya, 1877, pp. Indeed, when the servant in the background of the original composition is replaced by the old woman with the sack, the scene immediately becomes recognisable as a depiction of Judith at the banquet of Holofernes (Judith 12:17-19) while her servant awaits her outside the tent holding the pouch in which she later places the head of the enemy general (Judith 13:9-10). Benesch, O., Note on Salomon de Bray, The Art Quarterly, XII, 1959, pp. This, together with the maid holding out the goblet containing a pinkish liquid, allows the original composition to be identified with the biblical passage in which Judith, after arriving at Holofernes`s camp, is brought before him. n. 101. The analysis of the samples taken for the purpose of the present catalogue show, first of all, that the main figure, the maid with the goblet and the table are painted over the ground layer, which consists of two coats: an underlying coat of red, and on top a coat of grey. Buendía, José Rogelio, El Prado. Catálogo de las pinturas, Museo del Prado, Madrid, 1972. Indeed, precisely in two of these scenes, one by Salomon Koninck and the other by Willem de Poorter, the kneeling maid who holds the mirror bears a close resemblance to the maid with the goblet in Rembrandt`s composition, both in type and pose. Monday to Saturday from 10 a.m. to 8 p.m. Sundays and holidays from 10 a.m. to 5 p.m. Sundays and holidays from 3 p.m. to 5 p.m. la Judit, y una Doncella que le sirbe una Copa y en una mesa redonda un Libro: Reembrand ... 6000, Antecámara de la Reina [...] {21519} Dos de historia de Judic y uno de dos varas en cuadro, retrato de una señora con una doncella que le presenta una copa (? Rembrandt, Rubens, Caravaggio and others have all brought the … (Judith 12:17-18). 125-127. It seems more likely, as Carmen Garrido points out, that it is the space the painter set aside for the figure. pen drawing (18 × 15 cm) — c. 1653 Museo di Capodimonte, Naples Rembrandt Harmensz. J.-C., est présenté dans ce texte comme roi d'Assyrie The current condition of the painting makes it impossible to ascertain whether the background figure was painted by Rembrandt. Indeed, this female type -clearly rooted in Rubens- is found in other scenes painted during these years not only by Rembrandt, but also by Jan Lievens (1607-1674) and Salomon de Bray (1597-1664). Aservant girl who kneels before her with her back to the viewer but in lost profile offers her a goblet consisting of a nautilus shell mounted on a gold stem which contains wine (or at least a pinkish liquid). Rembrandt would thus initially have intended to depict the novel theme of Judith on her arrival at Holofernes`s camp, which had no iconographic tradition (at least none has yet been identified). Antecámara de la Reina [...] {21519} Dos de historia de Judic y uno de dos varas en cuadro, retrato de una señora con una doncella que le presenta una copa (? n. 11. Weisbach, W., Rembrandt, Berlín, 1926, pp. Arias Bonel, J. L., Rembrandt y Ganímedes, Goya: Revista de Arte, 270, 1999, pp. Bildindex der Kunst und … 136-137. 537-538. REMBRANDT-VAN-RYN (PABLO) / 1330 La Reina Artemisa. Judith at the Banquet of Holofernes (Rembrandt), Bust of a Man Wearing a Gorget and Plumed Beret, Diana Bathing with her Nymphs with Actaeon and Callisto, Pendant portraits of Maerten Soolmans and Oopjen Coppit, The Archangel Raphael Leaving Tobias' Family, Ahasuerus and Haman at the Feast of Esther, Self-Portrait Wearing a White Feathered Bonnet, Self-Portrait in a Black Beret and Gold Chain, Self-Portrait with Beret and Turned-Up Collar,, Paintings of the Museo del Prado by Dutch artists, Wikipedia articles with RKDID identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 31 July 2019, at 10:37. 11-34. It is signed "REMBRANDT F: 1634". RKDimages, Œuvre numéro 46913, comme Sophonisba receives the cup of poison, 1634, 142 × 153 cm. 24.03.2004 - 27.06.2004, Rembrandt. However, as stated earlier, the X-ray image raises two crucial questions. 1544.-(1330-H.)-La reina Artemisa en el acto de re- / cibir la copa que contiene mezcladas con el licor las / cenizas de su marido Mausoleo. 20-38. Artemisa y mujer en el lecho, Museo Nacional del Prado, Madrid, 2002. (Véase nuestro Catálogo extenso. Judith at the Banquet of Holofernes (also known as Artemisia Receiving Mausolus' Ashes and Sophonisba Receiving the Poisoned Cup) is a painting by the Dutch master Rembrandt. The subject of the picture was unclear for centuries. Bode, W., The complete work of Rembrandt. 04.08.2006 - 05.11.2006, Rembrandt y Caravaggio Lloyd Williams, J., Rembrandt. The head of the main figure is surrounded by a large, dark silhouette. 28014. However, the absence of an iconographic tradition could have made the composition difficult to understand for the viewer, and it was therefore decided to repaint the background and add the figure of the elderly servant woman with the sack so as to transform the scene into a depiction of Judith before Holofernes, for which there was an existing iconographic tradition. Paso de Tribuna y Trascuartos [...] {12759} [s. n.] = Ensenada = Vn quadro que representa a Judic a quien vnas doncellas sirven vna copa y en vna mesa redonda tiene vn libro abierto figuras de mas de medio cuerpo original de Rembran de siete quartas de largo y vara y media de caida, Inv. El Rembrandt del Museo del Prado, Anales de historia del arte, 23, 2013, pp. However, following the compilation of the Corpus (1986), various authors now agree that the modelling of the face, based on marked contrasts of light and shadow with no attention to detail, indicates that this is not a portrait but a prototype. Bauch, K., Rembrandt, Gemälde, W. De Gruyter, Berlín, 1966, pp. Slatkes, L. J., Rembrandt. 110. Pittore Incisore Tümpel, C., Ikonographische Beiträge zu Rembrandt, Kunstchronik, 19, 1966, pp. 157. 379 y 592. The scene is part of a small group of allegories personified by heroic women -goddesses or heroines of Antiquity and the Old Testament painted by Rembrandt between 1633 and 1635, which reflect his confrontation with Rubens and the Flemish Baroque masters. 179 y 561. Editores-Fundación Amigos, Madrid, 2006, pp. This superimposition of paint layers explains the marked craquelure of the paint surface in this area. In this respect the original composition would tie in with the tradition of domestic scenes of a woman at her toilette which are so characteristic of Dutch painting and were used by various painters of Rembrandt`s milieu for the iconography of the scene of Esther grooming herself before going before Ahasuerus to beg him to protect the Jews (Esther 5:1), a theme that was widely disseminated in Holland as an example of patriotic conduct. 146. 109. Vosmaer, C., Rembrandt. She wears a pearl bracelet, double stranded necklace and earrings. Ayuntamiento de Madrid, Costamagna, A.; Checa, F.; Wetering, E. van de. The supporters of the interpretation of the figure as Artemisia take the object held by the servant in the background of the X-ray image to be a platter from which Mausolus`s ashes fall. Artiles Rodríguez, Jenaro, Una rica colección artística en Madrid (siglo XVII), Revista de la biblioteca, archivo y museo. Her maid, waiting outside the tent, came in with the food sack. Citroen, K., Rembrandt's Sophonisba. In front of the book it is possible to discern a goblet, later eliminated. Judith Beheading Holofernes. Nevertheless, the current black background, without highlights or modelling, appears to be a later addition dating from the late nineteenth or early twentieth century (perhaps the restoration work referred to on the label glued to the back). dir., Rembrandt, Minerva Herman, München, 2004, pp.

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