The Artist in his Studio

Painting by Rembrandt

The Artist in his Studio

Artist| Rembrandt van Rijn
Year| c. 1629
Type| Oil on panel
Dimensions| 24.8 cm × 31.7 cm (9.8 in × 12.5 in)
Location| Museum of Fine Arts, Boston

The Artist in his Studio is the title of an oil painting on panel created by Rembrandt in 1629. The Museum of Fine Arts in Boston, Massachusetts currently holds the painting. The painting depicts an artist standing on the left side of his studio, gazing at an easel on the right side of his studio. The artist is notably standing across the room from the easel, which is turned away from the viewer. The artist's studio depicted in the painting is likely Rembrandt's own studio. Scholars have debated whether the artist represents Rembrandt himself or his student, Gerrit Dou.[1]: 120–121  Rembrandt did not sign his work, but art historians are confident in attributing this work to him because its color scheme and technique resemble those of other works by Rembrandt during this period.[2]: 210–211

## Description

[edit]

Detail of The Artist in his Studio showing the painter

The painting depicts a painter positioned on the left side of the composition.[2]: 208  He wears a tabard, a garment often worn by European men in the late Middle Ages and early modern period.[1]: 66  He holds a palette, an assortment of paintbrushes, and a maulstick in his left hand, and a single paintbrush in his right hand.[2]: 208  A maulstick is a stick with a soft head that is used in painting to support the working hand. The piece portrays the artist gazing at the easel shown in the foreground of the painting rather than actively painting.[1]: 120  He stands a distance from the painting.[1]: 120  He is standing rather than sitting, which is notable because artists at the time typically sat to paint.[1]: 120

The setting of the painting is likely Rembrandt's studio, where the unknown artist works.[1]: 120  The viewer is unable to see the painting that the artist is working on since the easel is turned away from the viewer.[1]: 120  The studio contains very few objects: a table with two bottles, two palettes hanging on the wall, and a grinding stone. All these items relate to painting since the artist would prepare his paint with the grinding stone and the bottles may contain his oil and varnish.[2]: 208 [1]: 120

## Analysis

[edit]

Rembrandt uses various techniques to highlight the artist depicted in the painting and his position in relation to the easel. The light source cuts across the panel diagonally from beyond the upper left-hand corner of the painting toward the bottom right. The angled light highlights how the painter stands far from the easel.[1]: 120  Rembrandt’s use of shadows reinforces the linear perspective in the work, calling attention to the space between the painter and the easel.[2]: 211 : 211  Rembrandt draws the viewer’s gaze to the painter because the studio is sparse, with only a few objects related to painting.[1]: 120  Signs of wear on the horizontal bar of the easel suggest that the artist often paints sitting while resting his feet, which was common practice for artists during the 17th century.[1]: 120  Rembrandt portrays the artist across the room from the easel, not actively painting.[1]: 120

Rembrandt, Amsterdam Self-Portrait as a Young Man, c. 1628

Rembrandt draws the viewer's attention to the easel as it is almost centered in the foreground of the painting. However, the viewer is unable to determine how finished the painting is, or if the artist has even started painting yet, since the panel and easel are turned away from the viewer.[1]: 120  During the 17th century, there was an idea that before an artist could begin, he had to fully envision the work he planned in his mind. Rembrandt may have been depicting this idea in art theory in this painting.[1]: 120 [2]: 211

Rembrandt likely depicts his own studio in the painting. The artist in the painting is portrayed with light and shadow in a very similar manner to the figures in two of Rembrandt’s self-portraits (Amsterdam Self-Portrait as a Young Man and Munich Self-Portrait as a Young Man).[2]: 211  In addition, several characteristics of the studio are consistent with Rembrandt's studio. The studio is located on one of the top two floors of an expensive Dutch townhouse based on the floor plan in the painting and the height of the room.[2]: 211  The townhouse would have been built in the late 16th or early 17th centuries because the wooden floorboards are parallel to the back wall.[2]: 211

Rembrandt, Munich Self-Portrait as a Young Man, 1629

## Identity of the artist

[edit]

The identity of the figure in The Artist in his Studio has been a subject of debate among scholars, with some describing him as Rembrandt himself and others suggesting that it represents his student, Gerrit Dou. Based on the height and “childlike stature” of the artist, some argue that the painter could be Gerrit Dou since he was only fourteen years old when he became Rembrandt’s pupil.[1]: 120  Others assert Rembrandt painted himself because the artist is likely of standard height for an adult male, adjusting for the perspective of the scene.[1]: 120  In addition, the facial features of Rembrandt’s self-portraits are similar to those of the artist depicted. Specifically, the eyebrows in his Munich Self-Portrait as a Young Man (1629) resemble those of The Artist in His Studio.[1]: 120  Rembrandt may have believed that the artist's identity was not a critical component of the piece, leading him to avoid clearly detailing the facial structure.[1]: 120, 211

## Attributing painting to Rembrandt

[edit]

Rembrandt, Supper at Emmaus, 1629

Although there is no signature on the painting, art historians are confident that the painting is Rembrandt’s because both its color scheme and technique align closely with other works by Rembrandt dated 1629.[2]: 210–211 The shaded areas of Rembrandt’s Munich Self-Portrait as a Young Man (1629) are made up of semi-transparent browns and grays that resemble the colors applied to the obscured regions of The Artist in his Studio. In both Supper at Emmaus (1629) and this painting, Rembrandt outlines forms with dark color. Additionally, the tabard that the artist is wearing in the painting is comparable to the garment worn by the old man in the Turin Old man asleep by the fire (1629). In both works, Rembrandt illustrates the texture and depth of the cloth by applying the paint thickly to the panels. Furthermore, the wall in the studio behind the painter resembles the backgrounds in the Munich Self-Portrait as a Young Man (1629) and Amsterdam Self-Portrait as a Young Man (c. 1628), which are a similar pale tone.[2]: 211

## See also

[edit]

* List of paintings by Rembrandt

## References

[edit]

1. ^ a b c d e f g h i j k l m n o p q r White, Christopher; Buvelot, Quentin (1999). Rembrandt by Himself. National Gallery Publications Limited, London.
2. ^ a b c d e f g h i j k Bruyn, J.; Haak, B.; Levie, S.H.; Van Thiel, P.J.J.; Van de Wetering, E. (1982). A Corpus of Rembrandt Paintings. Translated by Cook-Radmore, D. Martinus Nijhoff Publishers.

## External links

[edit]

* Museum of Fine Arts, Boston

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Rembrandt

Lists of drawings, etchings, paintings, prints, self-portraits

Paintings|

* The Senses (1624–25)
* The Stoning of Saint Stephen (1625)
* Suffer little children to come unto me (1620s)
* History Painting (1626)
* Balaam and the Ass (1626)
* The Baptism of the Eunuch (1626)
* Bust of a Man Wearing a Gorget and Plumed Beret (1626)
* Tobit and Anna with the Kid (c. 1626)
* The Flight into Egypt (1627)
* The Parable of the Rich Fool (1627)
* The Artist in his Studio (1628)
* Samson and Delilah (1629–30)
* Jeremiah Lamenting the Destruction of Jerusalem (1630)
* Anna and the Blind Tobit (c. 1630)
* The Raising of Lazarus (c. 1630–1632)
* Andromeda Chained to the Rocks (1631)
* The Anatomy Lesson of Dr. Nicolaes Tulp (1631)
* Christ with a Staff (1631)
* Christ on the Cross (1631)
* Old Man with a Gold Chain (c. 1631)
* Philosopher in Meditation (1632)
* The Abduction of Europa (1632)
* Adoration of the Magi (1632–1633)
* The Shipbuilder and his Wife (1633)
* The Storm on the Sea of Galilee (1633) 2
* A Lady and Gentleman in Black (1633)
* Raising of the Cross (1633)
* Descent from the Cross (1633)
* Diana Bathing with her Nymphs with Actaeon and Callisto (1634)
* Flora (1634)
* Judith at the Banquet of Holofernes (1634)
* Descent from the Cross (1634)
* Belshazzar's Feast (1635)
* Minerva (1635)
* The Prodigal Son in the Brothel (c. 1635)
* Raising of the Cross (study) (c. 1635)
* The Rape of Ganymede (1635)
* The Entombment of Christ (1635)
* Samson Threatening His Father-In-Law (1635)
* The Standard Bearer (1636)
* Danaë (1636)
* The Blinding of Samson (1636)
* Landscape with Arched Bridge (c. 1636-1637)
* The Preacher Eleazar Swalmius (1637)
* The Archangel Raphael Leaving Tobias' Family (1637)
* The Stone Bridge (1637)
* The Wedding Feast of Samson (1638)
* Landscape with the Good Samaritan (1638)
* Still Life with Peacocks (c. 1639)
* The Girl in a Picture Frame (1641)
* The Scholar at the Lectern (1641)
* The Night Watch (1642)
* Concord of the State (1642)
* David and Jonathan (1642)
* Boaz and Ruth (1643)
* The Woman Taken in Adultery (1644)
* Joseph's Dream (1645)
* Holy Family with Angels (1645)
* The Mill (1645–1648)
* Abraham Serving the Three Angels (1646)
* Susanna and the Elders (1647)
* Head of Christ (1648)
* The Kitchen Maid (1651)
* Descent from the Cross (1650–1652)
* Saul and David (c. 1652) 1
* Aristotle with a Bust of Homer (1653)
* A Woman Bathing in a Stream (1654)
* Bathsheba at Her Bath (1654)
* The Polish Rider (1655) 1
* Slaughtered Ox (1655)
* Pallas Athena (c. 1655)
* The Anatomy Lesson of Dr. Deijman (1656)
* Jacob Blessing the Sons of Joseph (1656)
* Courtesan at her Mirror (1657)
* Saint Bartholomew (1657)
* Moses Breaking the Tablets of the Law (1659)
* Ahasuerus and Haman at the Feast of Esther (1660)
* The Denial of Saint Peter (1660)
* Titus as a Monk (1660)
* The Conspiracy of Claudius Civilis (1661)
* Saint Matthew and the Angel (1661)
* Syndics of the Drapers' Guild (1662)
* Homer Dictating his Verses (1663)
* The Jewish Bride (1664)
* Lucretia (1664) 1
* David and Uriah (c. 1665)
* Young Woman with a Lapdog (1665)
* Lucretia (1666)
* The Return of the Prodigal Son (1662–1669)
* Simeon in the Temple (c. 1669)
* Landscape with a Castle

Portraits|

* Portrait of Nicolaes Ruts (1631)
* Portrait of a Man (1632)
* Portrait of a Woman (1632)
* Portrait of Jacob de Gheyn III (1632)
* Portrait of a 62-year-old Woman (1632)
* Portrait of a Man Rising from His Chair (1633)
* Portrait of a Young Woman with a Fan (1633)
* Oval Portrait of a Woman (1633)
* Portrait of a Woman Wearing a Gold Chain (1634)
* Pendant portraits of Maerten Soolmans and Oopjen Coppit (1634)
* Portrait of Petronella Buys (1635)
* A Polish Nobleman (1637)
* Portrait of Maria Trip (1639)
* Portrait of Jan Six (1654)
* Portrait of Floris Soop (1654)
* Portrait of Catharina Hooghsaet (1657)
* Portrait of a Man (1657)
* Portrait of a Man with Arms Akimbo (1658)
* Portrait of Dirck van Os (c. 1662)
* Portrait of Gerard de Lairesse (1665–1667)

Self-portraits|

* Self-Portrait with Dishevelled Hair (1628)
* Rembrandt Laughing (1628)
* Self-Portrait (1629)
* Self-Portrait in a Gorget (c.1629)
* Portrait of a Young Man with a Golden Chain (1635) (disputed)
* Self-Portrait Wearing a White Feathered Bonnet (1635)
* Self-Portrait with an Architectural Background (c. 1639)
* Self-Portrait at the Age of 34 (1640)
* Self-Portrait (1652)
* Self-Portrait in a Black Beret and Gold Chain (1654)
* Self-Portrait (1658)
* Self-Portrait with Beret and Turned-Up Collar (1659)
* Self-Portrait (1660)
* Self-Portrait as the Apostle Paul (1662)
* Self-Portrait as Zeuxis Laughing (1662)
* Self-Portrait with Two Circles (1665–1669)
* Self-Portrait (c. 1669)
* Self-Portrait at the Age of 63 (1669)

Drawings and prints
(including etchings)|

* Joseph and Potiphar's Wife (1634)
* Bearded Old Man (1634)
* River with Trees (1634)
* The Artist and his Model (1639)
* The Death of the Virgin (1639)
* The Mill (1641)
* The Three Trees (1643)
* The State Bed (1646)
* Portrait of Jan Six (1647)
* Hundred Guilder Print (1647–1649)
* Conus Marmoreus (1650)
* Goldweigher's Field (1651)
* Doctor Fautrieus (1652)
* Descent from the Cross by Torchlight (1652)
* The Three Crosses (1653)
* The Virgin and Child with a Cat (1654)
* Christ Presented to the People (1655)
* Mughal drawings

Collections|

* Rembrandt House Museum
* Rembrandt in Southern California

Rembrandt studies|

* Connoisseurs and scholars
* Rembrandt Research Project
* Rembrandt catalogues raisonnés
* 1908
* 1935
* 1968
* 1986

Related people|

* Pupils and followers
* Saskia van Uylenburgh (wife, model)
* Titus van Rijn (son, model)
* Geertje Dircx (mistress, model)
* Hendrickje Stoffels (mistress, model)
* Jacob Isaacsz. van Swanenburg (teacher)
* Pieter Lastman (teacher)
* Jan Lievens (colleague and friend)
* Hendrick van Uylenburgh (art dealer, patron)
* Jan Six (art collector, patron)
* Thomas Kaplan (art collector)

Works about
Rembrandt|

* Cultural depictions of Rembrandt
* Rembrandt's Daughter (1827 painting)
* The Tragedy of a Great (1920 film)
* Rembrandt (1936 film)
* Rembrandt (1940 film)
* Rembrandt (1942 film)
* Rembrandt: A Self-Portrait (1954 documentary film)
* Rembrandt fecit 1669 (1977 film)
* The Anatomy Lesson (1995 novel)
* Rembrandt (1999 film)
* Stealing Rembrandt (2003 film)
* Nightwatching (2007 film)
* I Am Rembrandt's Daughter (2008 novel)

Namesakes|

* Rembrandt, Iowa
* Rembrandtplein
* Rembrandtpark
* Rembrandt (crater)
* Rembrandt (train)
* Vereniging Rembrandt (foundation)

* 1 Contested
* 2 Stolen in 1990

Authority control databases |

* RKD ID

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