Abstract
Now that a sharper picture has emerged of the production by Rembrandt’s pupils during their apprenticeship with Rembrandt (see Chapter III), the question is whether or not this painting might have been a pupil’s ‚satellite‘ after the master’s ‚principael‘. Like the painting in Copenhagen dealt with under V 15, we have here a work in which so many elements of the composition, and of the positions, relations and actions of the figures, correspond with the other Supper at Emmaus in the Louvre (V 14) that a direct relation between the two paintings can scarcely be denied. At the same time, it must be borne in mind that V 14 must also originally have had a horizontal format, and that there may well have been a window visible to the beholder at the left of the composition.
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Notes
M. Hours, ‚Rembrandt. Observations et présentation de radiographies exécutées diaprés les portraits et compositions du Musée du Louvre‘, Bulletin du Laboratoire du Musée du Louvre, 1961, pp. 3–43, esp. 27.
J. Foucart, Les peintures de Rembrandt au Louvre, Paris 1982, pp. 76–79 and 92.
Sumowski Gemälde IV, no. 1961.
K. Lilienfeld, Arent de Gelder, Sein Leben und seine Kunst, The Hague 1914, no. 98.
W. Martin, ‚Rembrandt. Rätsel II‘, Der Kunstwanderer 3, 1921/2, p. 33.
I.Q. van Regteren Altena, ‚Rembrandt’s way to Emmaus‘, in Kunstmuseets Aarsskrft 35/6, 1948/9, p. 24, notes 43 and 44.
O. Benesch, Collected writings, Vol. I, Rembrandt, London 1970, p. 167.
Bauch 1966, p. 49.
W. Sumowski, ‚Nachträge zum Rembrandt 1956‘, Wissenschaftliche Zeitschrift der Humboldt-Universität zu Berlin: Gesellschafts-und sprachwissenschaftliche Reihe 7, 1957/58, pp. 223–278, esp. 226.
Alison McQueen, The rise of the cult of Rembrandt. Reinventing an old master in nineteenth-century France, Amsterdam 2003.
V Schaible, ‚Die Gemäldeübertragung. Studien zur Geschichte einer „klassischen Restauriermethode“‘, Maltechnik/Restauro 89 (1983), pp. 96–129, esp. 97.
J. Foucart, Les peintures de Rembrandt au Louvre, Paris 1982 Foucart, op.cit.2, pp. 92: ‚Saisie révolutionnaire de la collection du Comte d’Angiviller, Paris, 16 Thermidor an II (4 juillet 1794). On ne peut savoir si le tableau était chez d’Angiviller en tant que fonctionnaire royal ayant fait acheter le tableau juste à la fin de l’Ancien Régime ou en tant que collectionneur privé, mais la première hypothèse ne saurait être exclue; exposé au château de Compiègne (galerie annexe de peintures du Louvre) de 1874 à 1901, ainsi qu’à la galerie du Sénat au Palais du Luxembourg à Paris de 1800 environ à 1820.‘
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© 2011 Stichting Foundation Rembrandt Research Project
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Van De Wetering, E. (2011). Unknown painter — The supper at Emmaus (free variant after V 14). In: A Corpus of Rembrandt Paintings. Stichting Foundation Rembrandt Research Project, vol 5. Springer, Dordrecht. https://doi.org/10.1007/978-1-4020-5786-1_21
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DOI: https://doi.org/10.1007/978-1-4020-5786-1_21
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