115-125. Her hair is covered by a toque and she holds an oblong object in her right hand. Lº 80.350. Diéguez Rodríguez, A., Problemas iconográficos de ''Sofonisba recibiendo la copa de veneno'' de Rembrandt del Museo del Prado, Cuadernos de arte e iconografía, 13, 2004, pp. Groot, Hofstede de, A catalogue raisonné of the works of the most eminent Dutch painters of the seventeenth century, VI, MacMillan & Co., London, 1916, pp. The X-radiograph therefore raises two essential questions -who made this compositional change and why- which are directly related to the iconographical interpretation of this scene, the most controversial aspect of the painting both in the past and even today. Furthermore, in the wrist of the left hand there are overlapping layers of paint owing to a modification in the position of the pearl bracelet. REMBRANDT-VAN-RYN (PABLO) / 1330 La Reina Artemisa. Inv. Arias Bonel, J. L., Rembrandt y Ganímedes, Goya: Revista de Arte, 270, 1999, pp. Rembrandt Harmensz. In the latter, the picture, then in the queen`s boudoir, is followed by a painting illustrating another scene from the story of Judith: Another of the same size as the previous one Judith putting away the sack with the head of Holofernes = Rembrand = 4,000, now attributed to Adam de Coster (1585-1643) and also from the collection of the Marquis of Ensenada. / Alto 1,42; ancho 1,53.-L. Copa compuesta por una concha de nautilus Una copa similar exitió en la colección de Francesco Maria, Cardenal del Monte, reproducida en dos volúmenes de dibujos por Giovanni Maggi (K. Citroen, 2002:93), Commented works: Judith at the banquet of Holofernes, Rembrandt (1634), Velázquez, Rembrandt, Vermeer. In the past various authors have expressed their scepticism about the attribution of the painting to Rembrandt. 22.09.2001 - 16.12.2001, Rembrand´s women She leans her left hand on the table and presses her right hand to her breast. 127. Standing out against a dark background is the figure of a woman sumptuously attired in an embroidered dress with long, bouffant sleeves, a white silk over-gown with gold braid edging and passementerie fastenings, and a large ermine collar adorned with a gold chain encrusted with rubies and sapphires. Calle Ruiz de Alarcón 23. On the right, behind the seated woman, the folds of a dark red curtain can be made out. (Judith 12:17-18). Cruz Yábar, Juan María, El Rembrandt del Museo del Prado y su relación con don Jerónimo de la Torre, Boletín del Museo del Prado, XXX, 2012, pp. Rembrandt in der Albertina, ... Museo Nacional del Prado Online Gallery, comme Judith at the Banquet of Holofernes (previously known as Artemisia), 1634, 143 × 154,7 cm. The Quest of a Genius n. 90. Colecciones de Pintura, Lunwerg Editores, Barcelona, 1994, pp. 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. 99-112 [http://dx.doi.org/10.5209/rev_ANHA.2013.v23.43604]. Parallel visions. The outer edge of this object is interrupted by the head of the servant girl, indicating that this figure is part of the original composition; the inner edge is also interrupted by a rectangular element not visible in the painting (perhaps the arm of the chair). Tümpel, C., Rembrandt, Fonds Mercator, Anvers, 1986, pp. 63. Núm. Núm. However, the very absence of such a tradition made this theme very difficult to recognise, impairing the viewer`s grasp of the meaning of the painting, which was none other than the exaltation of a heroic and, … The current condition of the painting makes it impossible to ascertain whether the background figure was painted by Rembrandt. 110. In the light of this, the canopy visible on the right in the X-ray image would represent the hangings that adorned Holofernes`s tent as described in the Bible text (Judith 10:20); what is more, Judith`s gaze and gesture appear to fittingly express her reply to the enemy general; finally, the book, as was frequent in seventeenth-century Dutch history paintings, would be an allusion to the Bible and, by extension, to the Lord`s designs. Bull, D., Rembrandt Caravaggio, Waanders Publishers, Rijksmuseum, Amsterdam, 2006. Her beauty may have helped her in convincing Holofernes. For the purposes of the tale, Holofernes was a source of oppression, with Judith intended to encourage feelings of courage and patriotism. Furthermore, within the same group of paintings, Rembrandt would also have painted the more traditional scene, as the X-radiograph of Saskia van Uylenburgh in Arcadian Costume (Flora)? The background is very dark and largely lost owing to the chemical breakdown of the pigments used in that area or to restoration carried out in the late nineteenth or early twentieth century. Acheter une reproduction de tableau de Rembrandt, Judith au banquet d'Holofernes à notre atelier. Vosmaer, C., Rembrandt. 276. Editores-Fundación Amigos, Madrid, 2006, pp. Amsterdam El Rembrandt del Museo del Prado, Anales de historia del arte, 23, 2013, pp. Request artworks available in our catalogue in digital format. Clearly perceptible on the right side of the composition, behind the seated figure, is an undulating form that could be a canopy. Buy Rembrandt Prints Now from Amazon Artemisia, now often refered to as Judith at the Banquet of Holofernes, was a 1634 oil on canvas by Rembrandt that now resides at the world famous Museo del Prado in Madrid, Spain Museo Nacional del Prado, Museo del Prado. Catálogo razonado, Museo Nacional del Prado, Madrid, 2009, pp. 08.06.2001 - 02.09.2001, 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). The light entering from the left falls directly on the body of the seated woman, transforming the white over-gown into a powerful glow which in turn illuminates with its reflection the profile of the servant girl, the goblet and the book, while the rest remains in semidarkness. Stylistically, the painting combines the formal monumentality that is a feature of Flemish tradition with the characteristically Dutch taste for detail and virtuosity in the rendering of different materials and textures. However, the goblet is alien to the iconography of Esther and, therefore, the fact that in Rembrandt`s painting the maid with the goblet belongs to the original composition rules out the possibility that the picture was initially intended to represent Esther. 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. It is signed "REMBRANDT F: 1634". 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.It is housed in the Museo del Prado of Madrid, Spain.It is signed "REMBRANDT F: 1634". Boogert, B. van den, Rembrandt's Treasures, Waanders Publishers, Amsterdam, 1999, pp. Rembrandt here shows how she prepares herself for the feast. Salas, Xavier de, Museo del Prado. Roma Whatever the case, the pigments used to conceal the original background indicate that the compositional change was made in the seventeenth century, as copper pigment ceased to be employed in the eighteenth century. [1][2] Today it is considered to be Judith at the banquet of Holofernes.[3]. For the woman, Rembrandt probably used his wife Saskia as model. This interpretation furthermore fits in with the description of the painting in the early inventories, a piece of documentary evidence not taken into account until now: in the first inventory of the possessions of the Marquis of Ensenada (1754) it is listed as a half-length Judith. 237. Then she took hold of his sword, and, in two strokes, cut off his head. Although in the second inventory (1768) Mengs describes it as Rembrandt, Anoble matron and a maid, in the inventory of Charles III (1772) it is referred to as Ensenada -Apicture showing Judith to whom some maids serve a goblet and on a round table an open book, figures of more than half length, an original by Rembran [sic] seven spans long and one and a half varas high, a description maintained by Bayeu and Goya in the inventory of Charles IV (1794). It was initially located just above the hand and was later positioned at the edge of the dress sleeve. I, Jahrbuch der Hamburger Kunstsammlungen, 13, 1968, pp. Copa compuesta por una concha de nautilus Una copa similar exitió en la colección de Francesco Maria, Cardenal del Monte, reproducida en dos volúmenes de dibujos por Giovanni Maggi (K. Citroen, 2002:93). Viena