Pupil of Rembrandt — Christ and the woman of Samaria

Berlin, Staatliche Museen Zu Berlin, Gemäldegalerie, Cat. No. 811 B
  • Ernst Van De Wetering
Part of the Stichting Foundation Rembrandt Research Project book series (RRSE, volume 5)


Up to 1986, three late paintings with Christ and the woman of Samaria (see also V 24 and V 26) were all considered to be works by Rembrandt. This is an unusual number of works with the same subject for Rembrandt to have painted within a relatively short period. Horst Gerson wrote about them: ‚I see powerful emotional interpretations in all the painted treatments of the subject, related yet independent works of art‘. 1 The relation that Gerson remarked was that they all treated the same subject; but the mutual ‚independence‘ of the three paintings could of course be variously interpreted. In his 1986 Rembrandt monograph, Christian Tümpel saw three different hands in the three paintings. In his view, the difference from works that he considered to be autograph works by Rembrandt were in all three cases such that he attributed them to separate, anonymous painters from Rembrandt’s circle or from his workshop.2 We largely share this opinion (cf. V 24 and 26).


Paint Layer Paint Surface Pinkish Paint Onderzoek Naar Painted Treatment 
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    Gerson 1968, p. 499, no. 272.Google Scholar
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    C. Müller Hofstede, ‚Das Stuttgarter Selbstbildnis von Rembrandt‘, Pantheon 21 (1963), pp. 65–90.Google Scholar
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    Tancred Borenius, ‚A re-discovered work by Palma Vecchio‘, Pantheon 6 (1930), p. 426. Borenius remarked on a similarity between the Christ figure in Palma Vecchio’s painting, since lost, and in Br 592A; W.R. Valentiner, Rem brandt und seine Umgebung, Strasbourg 1905, p. 80: a work by Moretto, canvas 40 × 33 cm, Bergamo, Accademia Carrara.Google Scholar

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© Stichting Foundation Rembrandt Research Project 2011

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  • Ernst Van De Wetering

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