The following text examines the painting’s original appearance and the character of the extensive revisions that were made to it in the mid-seventeenth century. $125,000. Technical evidence gained from examinations of the canvas or paints used has not yet provided precise correlations with other works. Photographers: Vladimir Terebenin, Leonard Kheifets, Yuri Molodkovets. In his The Good Samaritan [fig. no. Josua Bruyn et al. (Cambridge, Mass., 1948), 1:134–135 (also reprint, Rembrandt: Life and Work [Greenwich, Conn., 1964], 220–221), emphasizes that while the action has been reduced, the emotional content has been enriched through the stability of the composition and the breadth and vigor of the paint handling. (New York, 1979–1992), 9: no. This restorer, who made the addition of the tempera paint, must have felt that this aged man’s body should have been more massive than it had been painted, and he added significantly to its bulk. 43). The paint was applied over a double ground composed of a thick, light gray lower layer followed by a thin, brown gray upper layer. The cross-sections also showed an unpigmented layer, presumably varnish or oil, directly on top of the dark layer. Aside from the excitement surrounding the discovery of a new Rembrandt, the high price was undoubtedly influenced as well by the positive opinion given about its authenticity the previous week by the leading Rembrandt authority of the day, Dr. Wilhelm von Bode. It has also been assumed that one of these paintings is the 1634 version in the Hermitage. SN252, which is signed “Rembrandt f. 1650.” The composition of this work resembles that of Van Renesse’s drawing of the same subject (see note 19). 1972. It also reminds us of the complex conservation issues that often confront our assessments of paintings by Rembrandt and his workshop. This layer has been found in every cross-section with the exception of the neck of the Virgin. Pfalz, 1983), 4:2469–2470. 5] Detail of head of the middle-aged man, Rembrandt Workshop (Probably Constantijn van Renesse), The Descent from the Cross, 1650/1652, oil on canvas, National Gallery of Art, Washington, Widener Collection, 1942.9.61 has been painted over a younger figure whose head, in a position identical to that in the Hermitage painting, can be seen in the X-radiographs at about the man’s chest level [fig. Roland Fleischer and Susan S. Munshower, Papers in Art History from the Pennsylvania State University, 3 (Pittsburgh, 1988), 218–220. [10]  [10]The examinations in 1976 were undertaken with the assistance of Kay Silberfeld and Barbara Miller. Closed, Sculpture Garden This reduction is calculated by noting that, with the exception of his left hand, the man who supports Mary in the Hermitage painting was eliminated in the Gallery Descent when the canvas was cut. The X-radiographs show artist’s changes to the figures supporting Christ’s body, the legs of which were once bent backward to a greater degree. He reels backwards, mouth open, eyebrows raised in amazement at your startling arrival. Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt Paintings, vol. In this deposition there is evident a tendency to reduce the setting of a scene to a shallow, shrinelike enclosure and to orchestrate a rich diversity of emotions. The Descent from the Cross illustrates a group of men taking Christ down from the cross after his crucifixion. Van Renesse was born on September 10, 1626, in Maarssen, near Utrecht. Jesus' arm is exaggeratedly stretched. [1] The painting has been lined with the tacking margins removed. Photographer: Jean-Gilles Berizzi, for example, the crossed legs of the wounded man have much the same structure as do those of Christ in the Washington painting. The painting underwent treatment in 1991–1992 to remove discolored varnish and overpaint. Lesser of New Bond Street and the Parisian dealer F. Kleinberger on July 2, 1909, Kleinberger paid 7,800 guineas for The Descent from the Cross. Rembrandt (Rembrandt van Rijn) Dutch. is currently found on the painting, thus it seems probable that the painting was trimmed along the left and bottom to remove them. By Rembrandt Van Rijn. The earlier, Rubens Descent, is a triptych whose side wings portray the Visitation and the Presentation at the Temple. Josua Bruyn et al. 8]   [fig. The emphasis there on the physical activity of removing Christ’s body from the cross is reinforced by the angular gestures, the strong diagonal shadows on the white shroud, the ungainly position of Christ’s body, and the press of the crowd around the foot of the cross. Read our full Open Access policy for images. Heavily discolored varnish and extensive repainting [fig. Note: Exhibition history, provenance, and bibliography are subject to change as new information becomes available. Descent from the Cross by Torchlight. [fig. Although Campaña’s…, …in a comparison of Rembrandt’s Descent from the Cross (1632/33) with the print after Rubens’s Descent from the Cross that Rembrandt unquestionably used. It was inpainted in 2000, including reconstruction of the foreground figure’s head and face. [3] The ground and paint were analyzed by the NGA Scientific Research department using cross-sections, Fourier Transform Infrared spectroscopy, polarized light microscopy, X-ray fluorescence spectroscopy, and gas chromatography in conjunction with mass spectrometry (see reports dated July 1978; July 8, 1991; August 10, 1991; August 14, 1991; October 8, 1991; November 15, 1991; December 2, 1991; plus undated cross-section studies, 1991, in NGA Conservation department files). You can see the whites … It is unlikely that in the 1640s he would have entrusted a student in his workshop to recreate a composition that resonated so distinctly with a compositional idea first developed in 1633. His father, Ludovicus (Lodewijk) Gerardus van Renesse, was a preacher. was undertaken in 1991–1992. 293 (“The ‘Descent from the Cross’ by Rembrandt”). The title of the article was: “7,800Gs. Heavy impastos on the face of the man holding the torch, for example, are coarsely applied, while the white sheet wrapped around Christ is painted in flat planes of color that only superficially suggest folds in the material. The authors of the Corpus emphasize the complexities of the problems of attribution associated with this work. Finally, the arm of the Virgin was originally illuminated as it is in the Hermitage painting. Stylistic evidence suggests that the artist responsible was Constantijn van Renesse. Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt Paintings, vol. 1658a. 2, 1631–1634, ed. It lives at the Metropolitan Museum of Art in New York. This combination of techniques is particularly evident in his Conviviality near the Inn in the Corcoran Gallery of Art [fig. It is believed that Rembrandt produced his iteration of this iconic scene in response to Peter Paul Rubens’ painting of the same scene from 1612–14. This work is linked to John 19:38. In Van Renesse’s drawing of Doubting Thomas (Staatliche Graphische Sammlung, Munich), Christ’s elongated proportions and anatomical structure are the same as those in the Descent. Descent From the Cross: Descent From the Cross. After his father moved to Breda in 1638, Constantijn entered the University of Leiden, where he was inscribed for literary studies, although he later, in 1642, changed to philosophical studies. [fig. [fig. A report on their findings was written by Cynthia P. Schneider, who was at the Gallery then as a summer intern. Although Rembrandt was undoubtedly involved in the composition and may well have blocked in forms to serve as a compositional guide, no evidence of his own brushwork exists. 2] Rembrandt van Rijn, The Descent from the Cross, 1634, oil on canvas, Hermitage, Saint Petersburg. 5. This reduction is calculated by noting that, with the exception of his left hand, the man who supports Mary in the Hermitage painting was eliminated in the Gallery Descent when the canvas was cut. He may also have felt that the original composition provided the foundation for a particularly fascinating challenge, and thus he reconceived a dramatic story by subtly changing the positions of the figures, the lighting effects, and even the moment depicted to create a painting with a different mood and emotional impact. Workshop of Rembrandt - The Descent from the Cross. Since Gerson’s publication no Rembrandt authority has accepted the work as autograph. [2] The information about the condition of the painting in the letter was provided by "an artist friend" of E.W. They also wrote movingly about how the changes had enhanced the scene’s pictorial expression and emotional content. 528x407 mm; 20 3/4x16 1/8 inches, narrow to thread margins. [8]  [8]While Jakob Rosenberg, Rembrandt, 2 vols. Export from an object page includes entry, notes, images, and all menu items except overview and related contents. Also sometimes referred to crackle pattern., but X-ray fluorescence spectroscopy performed by the NGA Scientific Research department showed it contained antimony, an element found in Naples yellow, a pigment not commonly used before the mid-eighteenth century (see report dated July 1978 in NGA Conservation department files). John A. Beaver, Green Heys, Lancashire; (his sale, T. Winstanley and Sons [of Liverpool], Manchester, 15-16 and 18 April 1840, no. Export from an artist page includes image if available, biography, notes, and bibliography. Walter L. Strauss, 10 vols. It has also been assumed that one of these paintings is the 1634 version in the Hermitage. 31. MB 200), indicates that he had made the drawing in 1649, “the second time that he had been with Rembrandt.” His artistic career was short-lived, presumably ending by 1654 when he was named secretary of the city of Eindhoven. . The scene was usually included in medieval cycles of the Life or the Passion of Christ, between the Crucifixion and the Entombment of Christ. (Records of the Parker family of Skirwith Abbey, Warwick Hall, and Newbiggin Hall; Cumbria Record Office, Carlisle; WD PKR, box 2, bundle 14, document 213; WD PKR, box 4, bundle 18, documents 4-6, 8, 11-12; copies in NGA curatorial files.). Turn your photos into beautiful portrait paintings. Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. The RRP’s assessment of the painting, Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt Paintings, vol. (Landau i.d. Open Access image. [7]  [7]Werner Sumowski, Gemälde der Rembrandt-Schüler, 5 vols. To try to come to a clearer understanding of the place of this work within Rembrandt’s workshop, removal of the OverpaintOverpaint A layer of paint that covers original paint. It will also discuss the probability that the painting was treated again prior to being sold in London in 1909. The Descent from the Cross by Torchlight, Rembrandt van Rijn, 1654 etching, h 210mm × w 162mm More details. 1658a. Biörklund's second state (of 5), before the address of Uylenburgh lower right; Usticke's first state (of 5); New Hollstein fourth-fifth state (of 8). 7th St and Constitution Ave NW If an owner wishes to release a famous masterpiece nowadays he knows dealers ready to give him his price straightway.”. 584, responded with surprise that Kurt Bauch, Rembrandt Gemälde (Berlin, 1966), 6, 84, supposed (rightly) that the turbaned figure in the foreground of the painting was overpainted. The title of the article was: “7,800Gs. …cart is based on Rubens’s Descent from the Cross (1611–14) in Antwerp cathedral, which Gainsborough copied. This painting was probably begun in the mid-1630s and reworked in the 1650s, at which time it was reduced in size. Accession Number: 17.37.69 1972. Nevertheless, sufficient stylistic connections can be found between this painting and works attributed to Constantijn van Renesse (1626–1680) to make a tentative attribution to this fascinating Rembrandt student. The most striking instance is a bright orange that can be found in exactly the same area one finds the bright orange costume to the right of the turbaned man in the foreground of the Hermitage painting. (painter) Harris Schrank Fine Prints. Werner Sumowski, Gemälde der Rembrandt-Schüler, 5 vols. 1633, Alte Pinakothek, Munich. The differential absorption pattern is useful for examining an object's internal structure as well as for comparing the variation in pigment types.] van Rijn biography. This text will then examine the attribution of the work and its place within Rembrandt’s workshop. Stichting Foundation Rembrandt Research Project. 2]   [fig. The problems of the genesis of the painting as understood at that time were published in Arthur K. Wheelock Jr., “The Art Historian in the Laboratory: Examinations into ... 17th-Century Dutch Painting,” in The Age of Rembrandt: Studies in Seventeenth-Century Dutch Painting, ed. Wholesale oil painting reproductions of Rembrandt. 3, 1635–1642, ed. The original format thus would have been comparable to that of the Hermitage painting in that Christ was centrally placed in the composition. The Hermitage, St. Petersburg, Russia. Additionally, the two together help to remind us of Rembrandt's versatility across different mediums, somehow being able to achieve great success with different specialist tools. This painting thus is a fascinating document about the complexities that sometimes exist with works produced in Rembrandt’s workshop. Although the painting had not been cited in the literature and was unknown to Rembrandt scholars until just before the sale, the price was a record for a Rembrandt painting sold in a London auction house. From Forum Auctions, Rembrandt van Rijn, The Descent from the Cross: Second Plate (1633), Etching and engraving, 54 × 41.2 cm The Washington painting would then have been substantially larger than the Hermitage version (the Hermitage painting measures 159.3 x 116.4 cm; the proposed width of the Gallery painting would have been approximately 160 cm, or the double of 80 cm, with a proportional height of about 220 cm). Pfalz, 1983), 4:2961, no. from the left edge and 73 cm. Although no documents provide information to explain why such extensive reworkings were undertaken at this time, the reason may once again have been the hope that a commission for such a scene would materialize. Although the signature and date 1651 on the Washington Descent were determined to be later additions and removed during treatment in 1991–1992, the date is not inconsistent with the style of the figures painted over the earlier composition. See also comments in note 8. Stay up to date about our exhibitions, news, programs, and special offers. 73D71 Descent from the cross: Christ is taken down from the cross, usually by Nicodemus and Joseph of Arimathaea who are standing on the ladders (both arms of Christ detached) Other works by Rembrandt Josua Bruyn et al. [9]  [9]New technical examinations, including the taking of cross-sections, were made at that time by the NGA Scientific Research department and Karin Groen (see Technical Summary). c. 1650/52, 142 x 110.9 cm, Oil on canvas, National Gallery of Art, Washington, D.C. Widener Collection Not only is the cross brought forward and the figures given greater prominence, but light is concentrated on two major areas of activity: that surrounding the lowering of Christ’s body by the aged Joseph of Arimathea and the swooning figure of the Virgin. The figure of Christ, as well as the old woman at his feet, is reminiscent of comparable figures in The Descent from the Cross. In this monumental Rembrandt The Descent from the Cross: Second Plate, 1633, Rembrandt depicts the momentous moment in which Christ's body is released from the cross. [4] Upon removal of later repaint in 1992, it was determined that the turbaned foreground figure had been painted over another figure that had been intentionally scraped down. These were reconstructed on the basis of the remnants of paint left from the original head. 1] Rembrandt van Rijn, The Descent from the Cross, 1633, oil on panel, Alte Pinakothek, Munich. [1] It is possible that the painting was originally in the collection of the viscountess' father-in-law, Robert Hampden Trevor (1706-1783), 1st viscount Hampden, who was British minister at The Hague. The information the RRP relates about the painting being transferred onto a new canvas in Russia in 1854 is false. Descent From the Cross. It was probably at that time that the signature and date were added, and that the head, shoulders, and turban of the figure in the foreground were overpainted. (Dordrecht, Boston, and London, 1989), 628–630, C49, copy 2. Rembrandt Workshop (Probably Constantijn van Renesse), overall: 142 x 110.9 cm (55 7/8 x 43 11/16 in. [fig. [20]  [20]Particularly interesting in relation to the Washington Descent from the Cross is his drawing of the Lamentation of Christ on the Cross. The layer is probably varnish, which may indicate that a short lapse of time existed between the execution of the underlying image and the final composition. 1654. He was succeeded by his elder son, Thomas, 2nd viscount (1746-1824), and then by the viscountess' husband, John, 3rd viscount (1748-1824). Around 1632 he moved to Amsterdam, quickly establishing himself as the town’s leading artist, specializing in history paintings and portraiture. 1634. Renesse, about whom very little is known, seems to have been with Rembrandt between 1649 and 1652. Stylistically, Van Renesse’s figures compare closely to those in the Washington Descent. 584, responded with surprise that Kurt Bauch, Rembrandt Gemälde (Berlin, 1966), 6, 84, supposed (rightly) that the turbaned figure in the foreground of the painting was overpainted. to date (Amsterdam, 1949–), 20:12, no. Scholars also identified the 1651 Descent from the Cross as one of the two paintings of this subject listed in the inventory of Rembrandt’s possessions in 1656. Consequently, it seems apparent that the painting was significantly reduced along the left and the bottom. The hypothesis that the Washington painting was once a larger-scale version of the Hermitage painting is reinforced by the character of the design changes evident on the X-radiographs. See Technical Summary, note 2, for further information about the letter of June 26, 1909. If this hypothesis is correct, one could then argue that Van Renesse was a far more central figure in Rembrandt’s workshop in the early 1650s than has hitherto been believed. It may be that the earlier restorer scraped away the head and shoulders of the turbaned man because he saw evidence of a different figure beneath it. (Dordrecht, Boston, and London, 1989), 628–630, C49, is quite flawed. Jahrhunderts, 10 vols., Esslingen, 1907-1928: 6(1915):81-82, no. Because the figure holding the torch stands higher on the ladder and Christ’s legs have been brought forward, light focuses more broadly on the central figure group. Walter L. Strauss, 10 vols. Such a comparison shows that Rembrandt had fundamentally transformed Rubens’s heroic pathos into a powerful realism that evokes in the viewer a deep sense of involvement in…. ‘The descent from the cross by torchlight’ was created in 1654 by Rembrandt in Baroque style. Widener by gift through power of appointment of Joseph E. 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