File:41002.jpg
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Summary
Rembrandt: Portrait of Nicolas van Bambeeck in a Picture Frame | ||||||||||||||||||||||||||||
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Artist |
artist QS:P170,Q5598 |
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Title |
Portrait of Nicolaas van Bambeeck |
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Object type | painting | |||||||||||||||||||||||||||
Genre | portrait | |||||||||||||||||||||||||||
Depicted people | Nicolaes van Bambeeck | |||||||||||||||||||||||||||
Date |
1641 date QS:P571,+1641-00-00T00:00:00Z/9 |
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Medium |
oil on canvas medium QS:P186,Q296955;P186,Q12321255,P518,Q861259 |
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Dimensions |
height: 105.5 cm (41.5 in); width: 84 cm (33 in) dimensions QS:P2048,105.5U174728 dimensions QS:P2049,84U174728 |
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Collection |
institution QS:P195,Q377500 |
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Current location | ||||||||||||||||||||||||||||
Accession number | ||||||||||||||||||||||||||||
References |
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Source/Photographer |
Web Gallery of Art: Image Info about artwork reference_wga QS:P973,"http://www.wga.hu/html/r/rembran/painting/portrai1/agath.html" |
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Other versions |
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The official position taken by the Wikimedia Foundation is that "faithful reproductions of two-dimensional public domain works of art are public domain".
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Items portrayed in this file
depicts
image/jpeg
5dec08ca230e8f379642680b5c8328ee8d44e894
106,540 byte
962 pixel
750 pixel
1641
File history
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Date/Time | Thumbnail | Dimensions | User | Comment | |
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current | 07:05, 20 March 2011 | 750 × 962 (104 KB) | Heavy Horse | {{Information |Description ={{en|1=Portrait of Nicolas van Bambeeck}} |Source =http://www.wga.hu/art/r/rembran/painting/portrai1/agath.jpg |Author =Rembrandt |Date =1641 |Permission = |other_versions = }} [[Category:Paint |
File usage
- List of paintings by Rembrandt
- Rembrandt catalogue raisonné, 1908
- Rembrandt catalogue raisonné, 1935
- Rembrandt catalogue raisonné, 1968
- Rembrandt catalogue raisonné, 1986
- User:Daniel Mietchen/Wikidata lists/Scientific journals
- User:Jane023/List of paintings catalogued by Hofstede de Groot
- User:Jane023/Paintings by Rembrandt
- User:Jane023/Paintings in the KMSKB
- User:Jane023/Rembrandt catalog raisonné, 1908
- User:Jane023/Rembrandt catalog raisonné, 1914
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- Q21449656
- Wikidata:WikiProject sum of all paintings/Creator/Rembrandt
- Wikidata:WikiProject sum of all paintings/Catalog/A Corpus of Rembrandt Paintings VI
- Wikidata:WikiProject sum of all paintings/Catalog/Rembrandt catalog raisonné, 1908
- Wikidata:WikiProject sum of all paintings/Catalog/Rembrandt catalog raisonné, 1914
- Wikidata:WikiProject sum of all paintings/Catalog/Rembrandt catalog raisonné, 1935
- Wikidata:WikiProject sum of all paintings/Collection/Royal Museums of Fine Arts of Belgium
- Wikidata:WikiProject sum of all paintings/Catalog/Rembrandt catalog raisonné, 1968
- Wikidata:WikiProject sum of all paintings/Catalog/Rembrandt catalog raisonné, 1986
- Wikidata:WikiProject sum of all paintings/Pendant portraits
- Wikidata:WikiProject Men/Portraits of Men 1640-1649
- Wikidata:WikiProject sum of all paintings/Catalog/Rembrandt catalog raisonné, 1969
- Wikidata:WikiProject sum of all paintings/Portraits/Amsterdam
Metadata
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JPEG file comment | REMBRANDT Harmenszoon van Rijn
(b. 1606, Leiden, d. 1669, Amsterdam) Portrait of Nicolaas van Bambeeck 1641 Oil on canvas, 105,5 x 84 cm Musées Royaux des Beaux-Arts, Brussels Around 1640 Rembrandt painted a number of portraits of distinguished, withdrawn figures, all bathed in subdued light. These include Nicolaas van Bambeeck, a relatively well-off wool merchant from Amsterdam and of his wife Agatha Bas. She was the daughter of Dirck Jacobsz. Bas, several times burgomaster of Amsterdam from 1610 onwards. In other words, the two spouses came from somewhat different social backgrounds. The sublime matching portrait of the magnificently dressed, innocent-looking young woman belongs to the collection of Queen Elisabeth II of England. The two portraits were conceived as a unity in every way. A strong, formal bond was created between the two through the repeating of a broad trompe-l'oeil ebony moulding, forming bays from where the standing models lean slightly forwards and which was probably picked up by the moulding of the frames in which the two portraits were originally mounted. Through the artistic trick of having fingers and attributes run over the edge of the trompe-l'oeil moulding, the artist causes the fictional space of the figures to subtly flow over into the viewer's real space. Nicolaas van Bambeeck's pose, itself inspired by Titian's Portrait of Ariosto, was frequently imitated by Rembrandt's contemporaries in other portraits. The spouses' characteristics are revealed largely by a number of oppositions in their body poses, in the sign language of their hands, in their facial expressions and in highly significant details such as crushed gloves versus an open fan, their respective attributes. What we have here is a subtle play of thesis and antithesis, which can obviously only be recognised as such when both portraits "dialogue" directly with each other. The two canvases went their separate ways as early as 1814, and the full effect of one portrait on another can today be demonstrated only by placing photographic reproductions together. But even before the paintings were separated, both underwent treatment that drastically changed their appearance: for an unknown reason they were considerably trimmed back on all four side, thereby losing most of the trompe-l'oeil effect. There are certain paintings that one can never again look at with an open mind, once one has tried to reconstruct them in one's imagination as they originally looked.
Author: REMBRANDT Harmenszoon van Rijn Title: Portrait of Nicolaas van Bambeeck Time-line: 1601-1650 School: Dutch Form: painting Type: portrait |
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