REMBRANDT’S BATHSHEBA READING KING DAVID’S LETTER crase lite by ‘Ann Jensen Adams CAMBRIDGE UNIVERSITY PRESS‘To Par Baling Tem See Cop, Uae! ng "© Sumid Rov, Oagh own aa © CambeieUnraniyPce 8 Ti nk ceri Sb soy eon 1 poco of oy ut ma he tah the ee em of amine Cen Pe Fe paid ot Tryon Beko 1/3, Pe, BY Aci wn ka foe Bi ay Lary of Coes Cag abcess ‘Bred King Dvd ies / A se Adm cme of Wee ain wea opp eee a inden a 499-7. am 4369 A) Satin eee mee sth oso ade Stat a CONTENTS Li of rss utggmens Neo Cones Introduction: Perspectives on Rembrandt and His Works As JENSEN DANS Rembrandt's Bathabeba: The Object and is ‘Trangormatons 2: Rembradt’s Bathihebs and the Conventions of Seductive Theme suc Ja UUTER 3+ Am incompareble Baths 4 Reading Bathe: From Mastercles to Migs 5: Not Bataebe 1 The Painter and the Model pase a M7M Uriah’s Gaze 6. “Though decent beauty": A Documentary Hitory and Interpretation of Rebrand' 1684 Painting of Bathaheba ‘Sees Bibogphy Inder 199 4 ILLUSTRATIONS Rembran, Bhi with King Dv’ Later, 1656 Xny photogaph of Rembrand, Bathe, 1654 ‘Retontruccon of erga ocenation of Rembrand, Bushs, 1654 Rembrand, Homan Siting Holideed Bede «Soe, 1658, etching Rembrandt, Nae Woman Seed on « Mound 8 1631, * etching LJ. Mls aie Maarten van Heemskerc, Bsa Rein King David's Mee, 1553. engeving Johan Bus, Baa at he Bah 16. engeaving ‘Wien Buyteweeh, Bassey Realing King Das Le, 1616, etching Wiles Buyewech, An Ol Wome Brings Bibs King Davis Ltr, 1615 etching Peter Laveen, Buel, 1619 (Clin van ds Bae Mi Le mii despa bees muss de tmp, Aterda (1630) JG. Hs er Ja Livers, Bass Ring Dis ‘Lever (a 1631), mezzo Copy afer Rembrae, Bahl, 3.1632 Rembrand, Diane a the Bath ca 1630, ecing Rembrande Tao Mole Nid and « Mater and Child (He Roluapene), a. 164, ching Rembrande Ol Testament Hosine at Her Tae (Eth, Jui, Bats), ca 1632/1033 sw 8 a Fy20 REMBRANDT'S BATHSHEBA AND THE CONVENTIONS OF A SEDUCTIVE THEME yaw suuuyTER “When Rembrandt painted a Mfe-site Bathiebs in 1634, there exited a ich visual tadition of thin subject, patie sey in the couneie north ofthe Alpe (Pig. 1). Like the other anatives that Rembrandt ‘chore for pncings with aude ‘women ~ Andromeda, Susune (Coie), Diana and Her Nymph, and Denaé~ Baliheha was one of the most wadiondl sbjecs hat ad the female nade ae the focus ofthe image, In his fen dons of thee naratives, Rembrand, for whom emlion wa ‘one of the prime forces behind hi development, seponde in- tensely co the pictonal radions of the subject, at the same tame, he devined radially fom certain conventions connected ‘with dhe themes ‘The large namber of representations of Batseba in steenth= and seventeendhecentury pictorial a were inypited by thee bred venes (2 Sam. 13-4) 2 Adit cme o pas in an evening, tht David aie Som ff his bed, and waked! upon the rot ofthe king's howe: and fom the root he sw a woman washing enelf and the ‘Wonan wat very Baul to look up. 3 And David sen apd ingured afer the worn, And one ‘sid I oe this Bathe, the daughter of Ei, the wife of ‘Usshehe Hite? “é And David ene mesenger, and tok er and she came ‘nao ie, and ely wither for she spied om he Unclesnness and she resumed unto her howe : Rembeande’s painting of 1654 depicts 4 Mfesize Batheba whote brightly ltsiade body completely dominates the comas. “Auer fee sits an old woman ~ her figure enveloped in 2 deep shadow and eropped on two sides bythe Fame ~ who is atending to Batsheba's ight foot. In her right hand Batches holds Teter, of which only the Blank bac is visible, This conspicuous Teer andthe old womsn,cogecher with the young womans mae Ay and beauty, were the mouf that enabled the seventeenth= century viewer to recognize the min figuce at Bathheba However, in order to identify the young worn in Rembrand’s princng. the viewer neded sonte Knowledge of the pictorial con ‘ventions ofthe theme and ehe implications of certain mei Ex cept forthe beauty and nudity ~ the la justified bythe text that describes Buthsheba as buching "he saw 2 woman washing henel and the woman was very betifl fo lack upon”) ~ cere ae in fict no element in che panting cat refer dred fo the biblical text even the figure-of David gating upon her i absent. Nether ‘of ies ewo other idenifing sgn, the leer and the old woman, appear in the biblical native Over the coune of time, howevet they had become conventional in viull representations of the ‘THE VISUAL TRADITION “The portrayal ofthe biblical nacative of David and Bathsheba as a subject in which looking at bathing woman constitutes the eel deme (ha toy, the depiction of Buththeba in or neat 2 basin 2 focus ofthe composition) hd already sppeated in at Imedievliuminatons” Along with many other subjects of bi haste or seductive women, the topic became pope in German nd Netherlandish prin in dhe Sint half ofthe sixteenth century In hese images, the figure of David spying on Dathiheba was, increasingly eeduced to no more than 3 tiny figure inthe back- groin, fonctoning primary a an atibute of Date, in r= er co identify the subject. However atthe viewer serutiizs the Picture, this lite figure ako confonts im withthe fct that he Slike "a Davia” himsele ‘Only by earefl examination of Maarten van Hesmskerc’s n= Auental invention from the middle of the siteenth century, foran seunren “NON MOECHABERI Suman Figure 6. HJ. Mall van Heenheck, : skorenenkaint, Antes example, can taller of his alice (Fig. 6)" This Davi hat to be said with buick son fom an enormous diatance. eis the beholder who granted afl view of her Figure seen from ‘quite close by. By showing Bathshebs's logs fy fuming the middle and upper part of her t9 ts aor, the ares guarantee msxmom vcw of Bates body. ‘Variations on this postion were frequently employed in paintings ofthe subject. Rembrandt, too, placed Baise’ legs pall he pcre plane while lightly turning the ree of the body — ewer make out the tiny figure sanding onthe side, while fom her stomach to her shoulder ~ in the direction of the ‘Van Heemkerck introduced into his composition a motif hat ring to ith a's Get, y combining thin action with objec such a the binment jar jewel box, and mir ~ abject that 2 sociation with Mary Magee and allegorical Figures ike Supers, Vanity, and Loury ~ Van Heetskerc em [haszed chat Bata i bora preening herself Thi would femphatialy presented a¢ adulterous and sinful, for the rin Pa of sens othe Ten Commande. The depiction of is was selected forthe sixth, "Thou shalt ne commit ad However, in Rembrand’s pining itis not a young maid but ‘on old woman who cares for Buthebs's fet An old woman rnpanying her, s mont that would play sich a wiking ole i seventeenth-century depictions of Bathsheba, began ap i ages dating from the end of the siteenth century. We ‘ample, ina pit dated 160) by the engrave Johan Baa (Fig. 7)" tv thn eching, the figure of Batseba and che young maid a er fee are cel inspired by the print after Van Heemskerc, but here-Dathsheba turns toward an ld exone who ss speaking to her and pointing to David scanding on the roof of bis palaces That such an image ofan old erone was pereived 96 a procures ie confirmed by description by Karel van Mander of 2 how unknown Basie painted Frans Badens around the Same sme a Ban's print". Bemabes, bathing. a leer is brought eo her and an old procures keeps on fawning and whi procter,” a designation tha et tainly didnot have an innocent meaning inthis Sereorype of the bad women who made i their purpoue Yo Cor rope young women (nd men). We know dhe iage of the old snd depictions ofthe Prodigal Son carousing” Increasingly ovet the courte of the sstenth century she ako began to appear in the company of sich seductive beauties a the biblical Delish and Salome or the mythological Dana. Just at nthe marative of Bathiebs, no old cx they accompany. riod ~ wat the nderines the doubt mor of che womenTasman, ike Basa aid at BathsheERIC JAN stusjrER down by her role a6 a caring stendan, but the aditon of the traditional mot ofthe leer (which, in eater ap well 3s con temporary panting is invarably handed or dscused by the old woman) could remind the viewer of her function at 2 procures Prising extensively the invention of a preety unknown Basie by Jan Licwene, Philips Angel wrote in 6 thot Liet- ens when devising hs composition and thinking about he penton ‘who came to communicate David’ wither, decided thi "the mesenger must have been at ok! woman with alot of experience in mutters of love ~ that i 0 say, a procures, 38 one cal then ~ because these are ofen ued fr such mates and that she did ‘ot pass on the mestage simply verbally, but doubles brought 2 leet (Gs proot of superior power which she handed Bath Sheba." These word once agai verify that the image of the old ‘woman was ten a an obvious stereotype of a procures. and they also inieate how self-evident was the sociation ofthe lets i otis the viewer ofthe exitence of lover, whose mesage i being conveyed ‘We already encountered the moa ofthe letter in the engriving after Van Heemskerck in which the misive is handed to Bathe shea by a male mesenger (Fig. 6). However, in Van Mander’ description of the Bush by Badens cited above, ie was the old procures who pased her the letter Even more popular became the mooi neoduced by Buytewech in his etching of round 1616 [Fig 8) of Bachsheba holding the letter in her hand while he old ‘rome address hr, That depictions of young woman and an old atendant with 2 Teer could abo be used 0 represen acourtesin and her pro ‘ures/madam is evident fom seve imation in Le min des hs eles cursonnes dee ep, ale book publshed by Crspin ‘van de Pase Il in 1630 (Fig 1). Among the many pit with, porcais of these availabe beats, che only moat that ocx Sonally included consis ofan old woman who hand a letter oF holds up a miror" The eld woman ~ and ako the letter andthe ‘mimo ~ could thus apparenly function as self-evident abuts for the couresn Tn fice, Bathihetapainced around 1631 by Rembrandes fiend Jun Levent recalls De Pac's courtesan and cei procures (ig 12)" Te depes a filly deed Bathheba with an old woman acre es Semen Sas a aa gure 12. Copia van de Pa 1, Le mii pla ls coon steep, Arendt [630 fps sand 6 Rikeretenabint, = ‘ela how. © Rifsmeue Sichaing. Amora). completly soled fom their srtoundngs and poreayed large Talelengeh figures filing the pita plane, Next ro Bithshebs leans a miror, emphasing thoughts about vanity and tansence [Baduhebs seems tbe reflecting on the letter she i holding, and Jn that respect his compostion i the only precedent fr the em- phasic contemplation of Rembrandt's Budhubs of 1654 Reemrande stated the leer ~ by then eadtonal ~ in the enter ofthe painting. The bright light reBected by ehe unfolded Sheet jest unprecedented emphasis IF other puters (except for Lievens inthe paining jst ientoned) included the Iter in the context ofa gestre ~ handed by the old woman, received of read by Batsheba ~ here ehe ler has no faction in amarative 2etion, Ie ll denotes, however, the invitation to make lve, In Lieven’ painting te leer and the longing gae ofthis cour- tesike Bushes merely seem to ancpate the meting withAlthough Rembrnd' er works eto isininate ow = i 3 : i Sees ee ee od place au can The pce wt he a. : mt hve been inte by 3 Bayewech ding om sbow 115°” The cthed mie cd ther lar fo rong els pin afer conposton fs Ba ced theo oa fue of te oung aida the a and did no open n any beget depictions of Dae se flowers 1 the bunch of litle Rowers that Batseba ha ooth and freh fice ofthe young woman tothe win Of the old one, undenconing Bithsheb's blooming, youth tre in the mide of the domand is brevity. InERIC JAN StUYTER his presence. In Both ings Rembrandt alo indicts that th ‘women ae sting in the open at (in conte with his aude of rae nudes, a, for example Big. 15)” These women th peat to be undressed not becnste they faction ar ade model but because they are bathing in the countryside. By showing lovk and 3 chemise wth 3 clearly visible Snable deapery ~ the ait underlines the px sha hy ep Ta ey mg an fn the open sire made explicit inthe second etching: th woman, thon postion between hes chemise sod skimmer cloak ih ‘embroidered border anticipates the Bathsheba of 1054, ss with her lower leg in the water. With the ation of a bunch of amows in a quiver she is transformed into a Diana thus the 2 Secitions with iit spying becoming move pronounced. ‘When depicting arated theme in panting ~ which through Jes color may proce a mach stronger suggetion of wctve lifekenes speci inthe porteayal of young women, a Van Mander asserted” ~ Rembrande choe the vabject of Bathhebs, 3 ‘woman expliciy spied upon. He apparent dl not yet dare depict ths woman ~ so obviously the focus of 3 voysurs gaze ‘completely nude, There i, however, zomg suggestion that she parlyundrewed hen Als there snot yet dest confonation ‘wth the viewer by way of “eye contact,” in both etchings and in the Ol Tetamont Here at Her Tot, punted les than yest ater be crested hi fine Batseba The large cana ofthe Cl Thstement Heine at Her Tot showing filly deesed benuy (Fg. 1), must have been produced in repopte tothe Buh by Latvens of about 1631 mentioned hove (Fig. 12)" Lievens had reduced the them of Bathe to an image of evo fll dresed hal-length figures, one i reminded ‘of the subject only by the later in the hand ofthe young woman tnd, a we have sen, by the combination of a young an an old ‘woman with leer and/or mitrr tat could ako function asthe image ofa courtesan. In Rembrand’s punting, the serbtes = fering co the bill narrative ae even fither diane. Rembrande depicted 4 beaut, richly clad young woman whote airs being combed by an old erone.” The mos ofthe od woman sanding behind eke young beauty and combing het hates deed ied fom Lasmans Bathe (ig. to). tn ola Figute 15, Remand, Taw Male Nid ad Meter nd Chl (er Rolesote), e646, ehing,Ripretenkabine, Arstentan (8 {94 phot: © Rikemeun ching Amserda)sd seductes ofthe one sho watching het Although thi Basic i les theba hal ever been pr rly at 2 provocative objec oF vinsl enjoyment, Inthe este of such » dehant, dee pe tation of the made body, Rembrande might have fle necesay In tuning to the theme of Bashebs in 1 nade ofthis ize Figure 20, Rembrndk, Dia, 1636 Rembrandt may have been silted by the many hse nude a hat had reeemty been crested in. Haslem, Amsterdam, and Urteche by sch arias Pieter de Grebe. Caer van Ever 3b Backer, Butholomeus van der Hels, Ferdinand Bo hoki Johannes van Bronckhont, Fig 21). All of these van Loo, and Jan Geni, and Johannes van Bronekhors images accent the eeween Batch and theo fom the majonty of those painter, one ne more patings of procures (only in De Grebber' panting the menenger 3 young Bathsheba are ill known (an there would, of course, have est ‘roman), emphasizing Davi invitation to commit adakery thes Ex aby De Grebber dated 1644s psncngs In contrat, Rembrandt chose not t0 depict marie acto Bi "thi period show the old wopun conveying ead, he ¢ both on his previous inventions as well David's mesage verbally (Jacob van Loo, and 2 work sisted tn some specific element rom the sal eation. Like his eal ‘o Paulas Bon, s. Rembeande+ Burlkchs of 1654 confronts ut with with a lete. In sine leter to Bathshebs (J. G. van Broncktiont, De Grebe, Hendik ee Heenchop), in others Batsheba has sleady received the lee the fet that Rembrandt depicted this old woman and her footwe may conclude she mst have pert ba that he wished to present Ihe had deen icuous in this work, Moreover, with and the shimmering cloak wth ery that he had already employed sever Ses, RRensbrande omitted all other solar object sa behind the igure, pail co the pitue plane ence. If in eater paimings Rembrandt had made the boier 0 ‘out sharply against avery dark through strong lighting, he pushed the effet to the lint he Not only is the ult enhanced by siting the mae inthe ime crue apace (the ingests ofthe left hand alot sem o emerge picture plane), but the background hi tmble Since tis Blocked by 2 A ‘width of the picture, the viewer is noc even given the Huson that a space extends behind ie This 8x darkness seems t0 push th igre forward, an eect heightened by the aight inclination of effect of palpable nearness ‘The beholce unable to get around het. Merl and Figantvely speaking: only the shiuneing gold reat an intage ke this before ssng David abet the Sng Buthhebs fom the backgroun station of Batseba by Cheol foregrovn 2 upon Batheb, wh i siting alone ox ‘omewhat lower level inthe middle ground. Alt mbrande sem to have had ie im mind when he de 1654 This rorroborated by the pillt high plinth atthe right, and the ‘utain hanging behind Butihebs. Consciualy or unconscious Rembeande wat inspired by an invention fom the preceding ditioa which, more than any othe, emphasized David beholding Batheba: in Scimer'scompoution we follow David's gaze a8 he watches 2 Buthteba who ats quiedy mediating, with dowenie saw stuyren gure 22. Coll van Sichem afer Tobias Scininet, Babe, ‘wooden Fas Joep, Hr thf Angus, Sear Some of his ear nade studies ~ paiculely the etching of the Nade Woman Seated on «Mound of dou 1631 (Fig. 3) played 2 role in ht elaboration of Bathhebas pose” The. immcble sevted pose of the heaey nude, the tum ofthe torso, and the Position of the left arm, unmistakably bring ths etching to mind lw his Batlsiebo of about 1633 Rembeande had already employed the motif ofthe leg eoued over the hace ~ infact an extenely natural and reoxed atte for someone receiving a pedicure but ‘hich had not been used for» Batshebe by other ares, How ver, Bathshebs's inclined head with the lowered eyes, and pec he let hand on which she lant, remind us ofthe fie ‘of Roxane preparing to be rowed by Alexander in 9 print by Jacopo Carago afer Raphael" Finally, the pt by Fangois Pete tier afler 2 Roman bate s0 of cite in the Rembrand literature, may have ingpred the placing of the figures Hgorouly panllel co the picture plane and agpnt 4 fat, clowed-off tack round (Fig. 23" Each element in his composition of 1654 — ‘specially Buthsheba's denseanor ~ seems to have been designed 'o avoid any suggestion of movement and physi tension so that Figure 23. Faas Peet, “Antique Rebel” engaving hones & sagen, Rome, 164s, plate so, Riluprntnkabne Amster (how ® Riomaseam- Stichting, Aner) rshing might dang the viewers quet contemplation of het ody Alo tbe mol thar may fave psd Remand fom cates wort of ht own m wel a om depictions by odes = teem to have been wd, probly uncon s0aaln this = Mis compare the body of the 1654 Batlsheba with Rem- teandlt caies nudes and wa the contrporry lagescle rede pointed by eter arts in Huse aod Amsesta, e my ctocide that Renbennk ht found 2 middle coune be- tween dessus rendeedseallyasacve ype hat he thd depicted wah such conviction in hs yout wor completly deviating fom alder convention ~ andthe syed ed teed on canal ecamples pure By any of i ol isu Sobig sn of x Bai Ge A though Ie sugges so mc india that schol equendy Sink in open enonroy ~ thr Henle a he Ime" the ce contr fo an eal ype, semen of whichERIC JAN SLUUTER Rembeande employed in works created over a long pied of In this ambitious Hei nude ~ unique in the ler phase of his career ~ Rembrande seems fo have done everything in his power to create the epitome of bevuty and to contin the viewet ‘with a sense of intensely tangle comporeiiys With the simi= nation of any incmation of movement, nothing impede the eye 8c contemplaively surveys the nude body. That it wos Bathe ‘whom Rembrandt rendered inthis manner reveals that he most have been conscious ofthe specie implicasions ofthis subject 6 4 pictnal theme in which mon and eros concer were ind solubly linked BATHSHEBA AND THE SENSE OF SIGHT, THE DEPICTION OF BEAUTY, AND MORALITY ‘That there was a rebton berween various pope subjects and seventeenth-centurypreoceupations with seductive male bay ‘and arousl by sight becomes immediately clear when we ree that as soon a depictions of made women were prodaced with some fequency ia Holl severl of the themes that became ‘most popular were about men being excced by gazing t beat ‘women. These inlade not only the wbjec of Rembrandt point- ing the bathing Badhebs seen by Davi, but ah the bathing ‘Suunna spied upon by the Elden (the swo mos popular subject fiom the Old Tesament in the northern Netherands), and the ‘bathing Dina and her nymphs een by Actacon (he mort popula iythological subject in Holland) Sevenecnth-cenary teat rents of all thee subjees locate the viewer in the me postion and watching che same enticing Beauty a the men in the stories {ion distin, Riki Cede, 986 poo sad Wet ‘Busch, "Dae Keache nd ds unkenche Shes, Renn ‘Dn ‘Akon an Cals "Ze fr Kans, $3 (89) 25 "a7 for Done My Niger Ka, “Dae Vit, lop eral Woman” The A Buln, 9 (2978) pp. ass nd pesaly Siem Grohe "Rembrandt's Darsunger myopic anges vichen 16} wid 1614" dheraon, Rubr-Unientar Bosh, 2 For di aboot the pion tion walt henry once heb, able ike i we os mae ee by Loe Overbeck, wich wat ined ini anes ny sper "Dac in de rode en reeevwne Neder chleen pen oe” pe, Led 388 4. See Hhinbeth Konoha Ue dr Degen de Bue Bat’: Sens Gece de tons 17d, ie moth-Lefh 1960, ch 4 ands. Many more exanples can be mes ‘ned tan toe gen by Keno La vere 98, p13) Heo ne. be ser auton vin cence 955° M "iin sod. Lae Mauer vo Reset (he New Hai Dah & Fomch Ein, Eqn ad Wonks sei), Rose oa 9p, pt 30 9.80 EWM Hain Dah ad Flom Ein, Ein, on Wd, fui, Aten 4DI07, WU Ie p.m. eB Ot tow whe tee iver of hs componton, tn iron ft BM or the nf the ath emery Reeth 962 fg 9 ano woman ms proce wakes depcted 3 porte Ceory wa she combed wth he thing Babes te i she ete example knoe ng sre Yo Hats Bol (:Nwen Ty et Slr ick Heel Mase. 1994 8 4. Se, fr example, Konrad Reng, Lich Gort. Zo Homie the nerconpicaliige ofthe ob crope a being 2 procire/buwd in Sninenton by Jen Boch ofthe Tein of St dyn whch ‘betray eb» bole Pty Boge ea. Tastee Inge, Ht voc pepe! or Se meee 56 ene cath ce, Niegen (NineegMincum Commande ran Stu ‘os ps wa) Toning wee {eae Cn Je Pot his denoted hn ey. he Bd were tot ola ee ee "Dec en Weld vn de Prem Se evened Ee i Sit mio i bat See ‘Sr Rida <6 Hea Reds i fteonpe oth i rocten/bd whch abo rein the ne young whorl cee” Wanda tnd al Muse ie a The Hogue 195 p53): ff expe JH Bos, wih MM. Revo Ha monet Ot en Tew. Prana dear sown, aes, theme pid, Ham von Ache ated» Bley witha ldERIC JAN SLONTER on: he Hod op + minor Bathe, s tht she cannons Vani ae very empath pinang telex na-tens by ‘homr DiCos Kiunum, The Sn of Pape Pag he FR Cege 108 po, 083 10. her Hiveamp-tegemann, Wien Baroek, Anse, 195. ptt dues the pin or). Gan Gel, "Deen an Wi tem Duytewech” Out Hota 4 6950 pa sie hoya 1s Havetanp-Degennn 1999 pp. 43-278 ea Geller 19 Forte develope ou hme othe noe eh on eng sf the nt cerry sc: En an Sater, “Verna en Poo oot endiee Gleaa 11) Jan Tenge 2687 Bloor Rion 39 690) pp 386-00, pani. Compa, fr emp Ssenein’s Vonma ot on engin of 0 (Sle 991 is here enya ewig wah pie cst ie Sept worn Pomona and not atid For the sng of these hee er i fhe cemary se Sher 1986, pp He, 35 35,365. 1a, Pipe Angel Li dhe fy eden lem Chie), 6, 4, Crap van de Pe, ei dep dl aes de om ‘Asean, (6), mo 8 "La poudee Mace” une = ne ‘perl men a ole eter fr "Maemouse FE. Cou fo 15/16 The old "Aas I ete hat ler eto foe “La Ure soonare Cour.” who rendng Ie nw 3/4 "Mang a Mace” hols ps orf "Ua ble den an on, 9/2. "Do ‘ny her Chanbernide™ (ine 2 oung Wem) ole eee Gr Mu Margry of Richonde” who, wile combing et long ha looking is mo Pit, o8I9ga, wo. no. 18, aes lL po Coll Me and Mo Cooney, Susio Cy, Cala Sow dating, eh seen me caret One gs the ses imprint enpontion fom a merit by) G Had repoduced in). Bry B. Hak 8. Levi .] J en Thiel apd van de Weng Cape Renton Pants. Sticking Foundsion Rembande Rewarh Prij The Hogun sobs 3 1986, pe '6, See Braye al, Co, v2 (989, mo 45 9-84, The ‘bes copy tin Rennes Mane de Beaut-Ac, nd ated 6) Ae ering tthe Renlrand Resear rjc. lou nal me om 133 oF 161 See ao he icing B 127 ty vn taknown Rem wand pop stud reece co F BaP Vere ads cently gue conn to Louder ect by Holm Bere Rembenst sposian. Arter ory. ps: eroded in fevene in}: Brg et a Cope 3980. 393 ‘The rns ater Rape! compton for he La engroed by Bd shee an pat by Lanne, were pled fo nn tho oo. 0 (ae ‘See Holm Bevo, Petr Shon, nd Barks Weed, Reon The Mow iy Do © Eine, ah eon (tpn). New Haven. tpt wo 3.18 oral an Minder, Dev gr tty sila in Het Shier ‘Bek Hurl, 104 Xi 6: "The colour in depts of youth opie and spect of women have tha erin msl ‘ey = mak many hee om in uo is IeBrayn et aly Cop, vl 2 (1985, A 8p. ai-an: Oras, Ni onl Galery of Cus: de 1a 33 by he auton ote Cop “he connection withthe panting by Levers wa alo woted the ‘This ping hs been gen many es bee Maya Kab "Resm teats Esther” A Punting and 30 Etching Newly terete and Dated" Od Hand, 8 96), py 252-23). Tody sway eld Bolu or Er Be mesg ovens he er ajc wat een sly eke by Kah) The sth of the Capa ee a Yong Wnan at Her Tal, abouph they d sume tat a specie biel seer teprmne They denounce the dint of Eb ad he fegpeion tae The Tale of Jd Be Har Vist Hai poe ‘ed ‘We Bind ner example f+ youg ya er et 3 conten ‘Sapocn ecg fae ear etm le onthe et "Hr Hane Done Venn Gee Goan Sable ft ia dat are Leone Voi da et et 2 ‘Min (Cano Marie Vene a 190.64, ig 9) pombe that Rembrandt knew ths pat, Alo om sever Haas fo Ct iv van de Paes Lem et pe le cme de og Bove, nte 1a ape et he combing of ur wa ome fing ear the porvyal os coun, Smal 198-109, 0, 8.188, Ip 1837 Gy Dt, a desler Hic ind Lindstedt by Sonat 161. By HL Schnee, Leo cin Leno ine ne, rn, 1933 ‘wu caled Votnma Pomona by Bash, "un Werk janERIC JAN SLUUTER Leven" Pn 2 (967, PR. 0-170 39-20, Bee: ‘wow aed Er 3 poy marae tat the walle Ite be Chey fom pring by Len bee ut ‘Upsenboier dest “breil hed fs wean sth roe net Sch deep with nomenon pe Sherine lof ncane whe on al queing 24, Se Sores ote) Inte Ren ped a Hn Be ‘hin esr, Hemsag) whch 8 posi sk with ‘ort decied in Rembeoarsmenton cout ring ber ‘try and Pi To Poh. st Waker LS ad ‘Mago vn der Mele (th he ace AC: Dl an He and PJM de Ba), The Rnb Dro Now Yk. i, De ‘ey. Th ke ce helms ech young woman cn te pecrved a ounce we come ce de scp ike coon hota 26, Forel pt of ye be whch empl Vann tmoge ebb, nat 21, Compare note shove Fer the combiation of land young women athe may iinet sees whch they oxen etme nthe th ey ee ‘oo conn Von od Pm Sher 86 pp tao np p19, 5 ap, aNd 9) 3150 20 28 Many of te mots dace became gly popu in mero ge pining in wick the cee of» Young woman mean ‘Rpm a edseren of mene ae Jan Sofie, “Een venarae ‘che as en peg! an de rae. Spigel pepe ade eden chien rn etd er” On pg SHANG} Decdero tls Aretn 948, pp. uni Re dw the wo piting by Liven and Reet reap, the Vay of 13 by fn Mise Mole lf wom coming the hao» young Lady Wor) andthe Vata by HendaPt ung best oling Ker while a lt rome hl up» al eh pining nee Ee oh ea, Tot Lex Vomash xh x. ‘Arter (Rijn) 976 oa ad 2 thee ann ‘uncon Vics sb mound te Jbl conta, How rent ve of pitino young women ttre lowe Porc by panes fom» young roe, wc seg bout vany se more sen ttn complely pc Bae. ‘ke inpanon eminent ach gs af sce yoy women, which are ike aphid pnp Gr the wey Deh Urge. Seen mde ths very expe in Seve pitino Youn Stomen contenido mane ce eve empty 2 oe (Rew Yorks pve clea) ~ hing er on wich the ame (Ssomon Kenic) or (Phe Kone), whch se ealed Bas ff Remand and Ler, dpe nese ype “op clk fd singh a inte. Se sh the ping Fm the Rebevat Shoo es ae Kae 19 fig a8 oe ch le Yeung won ting oly whe ond st be Bathe). Compare a» pining aoued to De Poor, wich eae Te rosin of Esher ee} Bray ea Cp 0.» [98 p24 A », 1, Gon was he Fe 9 doabeseruty fhe ping ws By Re Sats wn hd he peared that Rema reworked ah eer racing by one af pup Gee Abe Brey Rebun Te {CopleEdtn of oe Ping, ee, eyo. Hon Geo, New Yoik and London. 1969p 0.90.49). The rejection owed. song hen, Tape 986, p49. s,who comida pining fom the md. Ener, nthe contrast a eworkig by Rem and inl of an cer work ee Cole Bier, "Rembrandt and Butea" in Bonen Atom Esper Psd Bl ‘lanp Bona on he Sith Br Ae- Mane Login, Door ‘pak o08, p49” Any Golhny comin he reo fr emovig fom Remand’ oer stint ee Amy Clay, "Rembraa’ Ent Bathe: Te Raphael Connection,” The Ae Bai, 6 [98] ppt) 1am conned a leas he inteon by Remind. | Conceming Andomate 2nd Seams ee Shite 99) (in nt 1 Pasian concern Diath tao ad Cali, ne Ser 184 1, Foran exemive conieeton see later 199) (i ote), pain. ‘Seeao Simon Schnny“Remrinde and Women” alt fe nee ‘ee Aad of Ars ond Si, 38 pees). 2-47 peal prio 1. Se Ane Holinder, Lig Tigh Cle, New You a London "ork pp and tl, who apes the coming. primary = sponta tech 98, the mae Wma Sat on 4 Mod ich, Ilene aby sired so mach wero, Fp 9""Te lteton {2 mate that bade lok not ony ea’ bot pect rableERIC JAN SLUNTER, 1s conveyed byte eens to he cue hed ok fee nigh wate, lamp bat meow salen huge ech lo of sping vette = oth sce sh ot et ‘king hat when Rembrandt th tne ly ed eas ‘nen coeues kth Yn Wan tH Ten Oren com fr aho Lieve tie th ome se even ae ugg Ste imagine the won without ter tacoma pe uch ore olin tn shove ft woman he sco ot See Sule 1993 (wo noe and Ste sh Pott pas i ‘Thi war overed long 2g; Eider op, p 86, ih ede in seven epee, Ls Susana of ttm Bein of which Ren Teen drew 2 Bee copy i red halk and whch wa ofthe pest Imporane fr hewn Suwa capone, ska plage et i neem of es Bae Se Siter 199m ate ‘eerste wo nie by Tint ou i tan (a, Lowe) = which he ay hve Known an ewig by {Grn Gor whom wat avery pote ol eure) — pee ‘wh eid the det dent way sh nf the Vee Ge ny 985, pp. nr. ngs enemy the ingore fh sang of lcs anf Roce by Jacopo Cargo. ser Repl, ‘which ceri played sale te pono ie “The only made he Fished in been wt» Sens esi) whic he halted much ne About the completed gene of the pe ing se Jon Keehn Chizoper Brown Jn Ke and Pat an ‘Thiel Rental: The Mee & Hs Wore Pa exh es, Bere i (Aes Mio), Amsterdam (hms), Loon (The Nsom Gey, New Have. t91 9.37 (oun, it might be pose dat» pate, simu by eh pi ‘ng ted Rembenw depic sie mde be mig ee ae sted pectic fr + Bathe. Hower, coming he consent loge Bit | prsve beth in Rembrndsdevlopmant at par af de and nthe bjs be dep het mee ly, Bat ren ifthe det nceve to pan i Bae cae fom pater ‘hs woul ot change my ew oe pcan which Rend pprathad he abject ~ wrt he peeing ado, te wrk of semper, nd iso work comer he conc ton empl origtsting fom hs own mun ert ee otis.) Bry i, Coa (8 See fr tpg (ans 14% 170) Chistian Tipe ‘ntl Joos Horsch Mua), Zwolle, 198 (45.56 38 4, Jean Lon, Pa, Minded Kou, cna B08 es both [pound Bor» ke pure of inc Ge Jes ‘ligne won Mie Cnt Fin ety Amen. Bos tm nor x Renbrande cos). 4: Por the ge pang of ier a son Van Bonen espegvely 115-3 gos co Helis and 38 % 157 cm fn Rowe) te he ‘cen aie by Thomas Dang, "Beeneen Cagis Chi ‘Som Batts by Jon Gera. Jone van Bronco” Hs ‘eler Nom Mew. 7 (188, tps. Pe de Geer, ‘anv 103% 85m, Boren, Mate der Beste Art 19689 + Eh pining sein 0 hve Been much ager The ait By Fendnk Heenchep known Gomi eching ded v6 (lie, ‘sup 0-1) Seal Btn wth women an ete a 0 1 tebe fod inthe sre of pine fom the Poelebur school tome ay anny, anton re by Fano Vertaal rombergn See ho a0 etching by Moje van Uytenbrock (1) tid be ell roe ang the leer to Batts: na ap anonymous “ok wich seme tobe te ccle f Henk Bloomer area 6 ae om, po Rubens voor Kenthsorich Docmenie IRKD) The Hogue, cle A Bloemser, 44 Comela Compl (Aneta, Rime) sod Bayeweeh ee SSove ote) id dh before Remand. Around the mile of he nary fee a alo pings by De Greer and Jn Cer: Yan Bronk ie above note ain which Di abe and ony Bath a te ld woman ae et 46 Wooo Flat ag des Haden dhe Cx oon nd Bath Sarg, 174, 97 eli 949 XX Jessen 4) Thi eon enone Rembenstvetory of {spas Tope! 199, 9p. F070 For xampin of Rembrandt e ison ro Stour Fis Jnpbs see Tipe 9, pr tstand Chan Tinpel "Di Repos de Jidicen Alerter ‘Ee Fo Jnphor der Hodindscen Hinrendesenge de 16 ied tnet” a i der Neder Kant Lit fu a ond 7 Jb oH. Vekeman a. Meler Hod Evo, 98, p.s-i86 Ths Bab rion wa, nome ofthe ie ie by Overbeck 085, whos needs ‘enon wih Rema pang,ERIC JAN SLUYTER 17 See ao on Kel, Brow ea 196 24. {SK Goto 183 aed the bngortance oh it he reo "hae above note 8: however ako the Bt of 054 ane oy doer ements nape by th pt 46 As willbe eae font daca al mn he posure of i ‘heb ad he maid which ve sae talary th rnc be ‘ced fk to eae works of Rem an fe oes nme "on inthe depen of Babes: they da not se to be noel fom ths pit pric, However, knowledge hiv pot my hive bokteed the uve errr cncopon ope 58, Gry Scher eten gg» conmetonerwee his unin sd the Bit tha Hence bong send of "whoring" war somone tefoe th cre coun inthe sume yar ace hit Rot 2 {ine Zi Stn. Em Nios Boe, Mal Bete Sle erin Clow Ale Manse, 18a 95-93 5: Aeaiy in his Stun of 1447 fone Hendrjeened hi oue hold Remon ed devlped cements of tht elon ice, wh high eyebrows oping dowmar eay pel sbre ak eet ‘ter comer of which pont down aes Hong ot sigh p= tring upper ip nd nes jones we et wt he me inthe Fw afc. 165-1055, Anat aos sia fers ra sng he Son f Jp 639 sche, even Lot Rebeca (he so-cled Jih Bi) have may ears a common, A ‘very dere il ype epee bythe Bg Ima (Nor Galery, Landon anh Crt Sti i» Das in whch ‘wee ao aay ele’ Henrie ~ and more ily 0. For ee con of tit woman, ee epeely David Borne, Chole Brown, and Adjok Roy. Relrnt r e Mling, ex ct, Lo dn (Niorl Gale 98.3, pote and no. 1, p96 ‘eae teow dn ch ter, with il chek vy Aire tin, sonet to, ey ould eve be preted belo fom theme wo 4, For tt asec of seve mythlopl jee ee Shiner 1984 _p.27rate. A sje which ao sdout ooking at debra ‘hich became favorite ony Hang ht of Cin and Epige fon Bocas Deane ee Nee Spat in He Grime Ld Pas whilst de Gouden Ena, Prev en Be ex, ‘ot, Unc (Cental Museum), Zobe, 99h pp teat and 346 1. See Sater 1986, or example pp 20-286, $5. Se, ream, Shier 1988, pp. 275-27; nd Een Sater, “Vex ‘ed RL Falkcnburg, J.P. Fledt Kok, and H. Leetlng. Nelms im aor 43/43 (9-193). alle, 198 388 {Qootd by San Sn To Women's Wie | Felt The Power of Women Tepes andthe Detelopnene of Meta Sear A PAD. dineraton, Univer of Penman, 178 Pp 29-12, ica Ca nrc dat ie ont get ds sas Mid erg 135 e173), p 308. The emp of Acton flow "Ae fon wor efomed ie 2 aA vs» coungre mo + ree of fy min, ht oly 944 wed won, an he ed Join on Beer, Skt gu Ade wenn, ted, Via ed 162) pa LC. Maywogel. Calpe, of Opweige it nie doen, ‘mer he, p10 quoted by adh van Gent, “De i a de eningen en prfeten in Tupelo 19 98-90 See, fr exile, Shier 186 pp 70-175; am Sate 98) (in te 59) pp. 36-38 See about Dan below ot 73 {Quoted by Era Pao. “Eo a he Vil Art” Jana of ‘he Wn nd Canl Tina (9) p30 (Ops Ga J. Chsea Lee, 1793-1786 719, C-8) se sho Dal Foe ‘eg “ftuanes Muna am Proven Ping uma fh Wo Ie nd Covad fas ar 24, Dik Rutt “Cimphuyico's poe Teg “t Genigdom der SchldecKont, Seasymen oe tes Woleench Suge 9 nen, Astra, 87 pp 1839) ~the no veemen tect ‘Mick on putang 2 tymed tan ofWoldenehn” wren ‘i Lin by i end Johaner Evers Genoa e160 See ri Jan Sher, “Didcoc snd Dupuied Meaning? Sever Sven ‘ceth-Centary Texts on Ping andthe Iconlopel Approach Yo [Nother Dutch Pains of th Pes.” den Huy syn Sd Jn de Ve lie, CALE (The Gey Cee fr te Harry of ‘An and she Horan 1991, pp 8896 nd in comecion With ‘Sums, Sater ts (note P. Compaen 167, p25)-24. Fr Engh raaon a the qe os pred ee see Sayer op nee) 188198, oe te (ot 719 pa. an Beer 1636 (e189), 4 (ati! MC: Pato "Bible hatnealken i pate ben,” in Tlingel eal pt ptERIC JAN stUNTER ‘ery king i punting of Bas by Von Haebergen ation ‘anon, pb RED), with pen sae of Acer he BE ts be momed te ‘Ste Sjer 199) i tte $3) pp 80. 26436. UF ae comin enor exe Sout ping, on al to cep ht el bent {pce were praia mb for png Mon of te we-knorn ‘esd contre pele ae oc punting of Ves he way of Compares teshoenatr, th pig ems wong on When he tiednce Van Mande 60, Lone fl fn) About ths oem, Se Ktel Ponsa, "Vondss gtet “Op ce ea lance Scher an Suzan" Ondo eo. Set i ‘toon areca tented an Pe Di ar 14.6. eon Bemeen eal euren“Amenoor, 8639138 pa Sin See a Seer 9 in noe) pst heer Seo the poe ae en connetion eth hepa of Rembrandt's Set of 136. Invent Gols’ Ds om ose Sar 1993 tne 9) Pt Grd (99), reed the imparance ofthe anon hie Eel interpretation of Rembondts Dow St Augie ref the pg Foo Terence’ Enc isin De Ci DF 3, tn Eptlr a0 Maan que his hs De He Sno ‘pam Pawanan fe Feeder 97, 24°24) the teh centy tre fin stance references Car pets (e103 Pr Vin ever 16) ep. 2nd Sue an Hoag te ning oe Hoe Se der Sant nd Zee Wer Rocerdan, by Famou vin Hoops 1685. Yan Hoste 17, P93 See Sloe 195 (nt) For example, sce Sith 7h Then Vignen WikerpSchuvmsn. Hani nei fle ade pat od, Lane. 18 ch, and Ranke Pigs, “De voow als veer De wedi ‘nana in dese eee," Bungee 3985p. 3938, Godetidw seman, Adie ran de woe nk, Mong to (qcted by Overbeek 98, p38) Jobin de Sone, Seren mode ele, Min, 657, 43 (goer by Ovrbeack 1988939 ab Ca, Sofa, det sige ght i eke ht 630 (ed 1713), "Voornden™ facet ‘Nas oi Ft mane de of mc, Awe 137 (uted by Ovebere 1988 30 Lace Con de Pol "Pre ede Aue Brg Eee: ‘ech in Neltad rosa. on Kaien ppt See Debs ile "A Exe of Coo-prton in Rembrndk Lnd rot oblch tr Brier Noon 2 ah 9p. 8a snd cet Fourteen on Lane (et di oon dt ents) ex ct, Pa 9 See eecly Alon NM, Kenenng, “The Paral Cours. Saghe gue ad HiLeagth Represration of Shepberleey” in The ‘ast, Paso tr andr i le Cn le Montel ij its, cea. Apa Som te shopherdenan thre ae the may ting whl ween ~ nee of cm oem red ~po ‘The une of vey oval cl ee eng figs or oe emplaced courte que ag ns ped fe ianee, Bicker Gumws o8)toHm tl tp. s8. 4 Doower {Samowsi 198-190, 9.1. p. 237 Bel Bama 19-209 ra 1 pp tas 12) 8, a Flack Samos 9891996 3 PP. ih, 4 89) Vn Ln Sanu Yo-toe, l5.pHN Scr er ine (Gover Finck ed 6, can 1268 88.4 0, St. Pete He "pata See os moving pure by Come Bac, Paden Nor {oa Seon Foanatan fer seed o Ness er Sana 1-190, al BAe 18) ‘ee dove noe 2 Inthe at rh cea hte re may Buse, rudy by Capur Neher in which the Bordeine wih sete ning a uc (nd inthe cave of Neacher hey ako teenie Flys depictions of Vonmnmar ond Font ae Sater 188 front)