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Mellon Educational and Charitable Trust, The A.W. … drawing the shade on her life. 218 (also English edition, Cornelis Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, trans. The essential transformation of the idealized statuesque figure into the emotionally evocative image of Rembrandt’s Lucretia, however, argues that the relationship is more superficial than real. the Cloth-Makers Guild. background is kept dark with deep shadows, both to convey a sombre mood In the possession of the Paris dealer S. Bourgeois. [17] [17]While I find the painting techniques described here characteristic for Rembrandt, Egbert Haverkamp-Begemann (personal communication, 1993) is quite critical of the manner in which these areas are executed. For Veronese’s Lucretia see Kunsthistorisches Museum, Katalog der Gemäldegalerie I, Italiener, Spanier, Franzosen, Engländer (Vienna, 1965), 169, cat. In Livy’s account Lucretia embodied chastity, but her tragedy assumed wider political dimensions because she was also considered a metaphor for Rome itself. the dagger deep into herself and has pulled it out: the blood is beginning Lucretia’s very virtue, however, inflamed the desire of Tarquinius’ son, Sextus Tarquinius, who returned without Collatinus’ knowledge a few days later. A terrible lack of taste” (René Gimpel, Diary of an Art Dealer, trans. Also similar is the use of an ImprimaturaImprimatura A colored priming layer used to establish the tonality of the painting. cat. For more about Rembrandt's art, see 17th In a sale at Mr. H. Phillips, . For his part, Rembrandt identified himself with a historical figure in his Self-Portrait as the Apostle Paul of 1661 (Rijksmuseum, Amsterdam), in which the sword of Paul’s martyrdom protrudes from Rembrandt’s chest. 25); purchased by Sir Thomas Lawrence [1769-1830] for Hugh Andrew Johnstone Munro [1797-1864], London, and Novar House, near Evanton, Ross-shire, Scotland. Historically attributed to Rembrandt, but not by the Rembrandt Research Project (2015). She was raped by Sextus Tarquinius, the son of the ruling tyrant. Mary D. Garrard, Artemisia Gentileschi: The Image of the Female Hero in Italian Baroque Art (Princeton, 1989), 219. As Garrard has written: “In Roman terms, Lucretia killed herself not out of guilt, but out of shame, concerned for her reputation and for the precedent of pardon that she might set for voluntary adulterers. our educational essays: Six Collection, Amsterdam 828B). No record of commissions exists for these works, nor other information concerning Rembrandt’s motivation for painting them. Knuttel speculated that the 1664 Lucretia may have served as a psychological catharsis for Rembrandt after the death of his companion, Hendrickje, the previous year. like Rembrandt, see 1826. . portraits, and his reputation as one of the best no. All rights reserved. The inventory lists: “A large painting of Lucretia, by R: Van Rijn.” [3] The original coarse, plain-weave fabric, composed of heavy, unevenly spun threads, has been lined. Interpretation/Meaning of The Suicide of Lucretia, Aristotle Contemplating the Bust of Homer (1653) Metropolitan Museum of The art dealer René Gimpel was more outspoken. Art Evaluation The dagger with which Lucretia killed herself is in evidence protruding from her breast. Neither realism nor idealism. death. This etching is a Feel free to explore, study and enjoy paintings with PaintingValley.com Export from an artist page includes image if available, biography, notes, and bibliography. Life size, more than half-length. The clasps that hook her dress at the bodice hang unfastened. layer for the base collar of the robe and accented it lightly with a series of thin strokes of red paint applied with a palette knife. In the picture, she has already driven 56, bought in); (Léon Gauchez, Paris), until at least 1893. The resemblance of, Julius Held, “Das gesprochene Wort bei Rembrandt,”. One annotation in the Wallace Collection (London) Library’s copy of the sale catalogue indicates that Zachary was the consigner of the NGA painting; another annotation next to the Lucretia entry reads “Sir T Lawrence.” The Getty Provenance Index© Database, Sale Catalogs, lot 0064 from sale catalog Br-2806, identifies the latter annotation as indicating a previous owner. “In ‘t Voorhuijs Een groot stuck schilderij van Lucretia van R: Van Rijn.” Rembrandt used the story of Lucretia as the subject for two of his most moving paintings in which he represented two moments in the tragedy of Lucretia's suicide. 44 ; at the Hudson-Fulton Celebration, Metropolitan Museum, New York, 1909, No. Her golden dress with a cape that falls over her out-stretched arms adds to her splendor. The inventory lists: “A large painting of Lucretia, by R: Van Rijn.”[3] [3]Walter L. Strauss and Marjon van der Meulen, The Rembrandt Documents (New York, 1979), doc. See also Gerhardus Knuttel, "De Lucretia En Andere Werken Van Rembrandt Bij De Firma Fred. Analysis of Other paintings by Rembrandt. Lucretia, legendary heroine of ancient Rome.According to tradition, she was the beautiful and virtuous wife of the nobleman Lucius Tarquinius Collatinus. Light thus strikes her head, right arm, and shoulder. Edward G. Hawke, 8 vols., London, 1907–1927: 6(1916):143-144, no. and public disgrace that this would bring to her husband and family, she British Museum, London) is an example of this, although in this print The Tragedy of Lucretia is a tempera and oil painting on a wood cassone or spalliera panel by the Italian Renaissance master Sandro Botticelli, painted between 1496 and 1504. B 1981.25.694). upright she lurches sideways from the hips as she clutches the bell-rope. male servant and then arrange their bodies so as to suggest a physical Terrified of the scandal For more about historical portraiture, Lucretia is a 1664 history painting historically attributed to the Dutch Golden Age painter Rembrandt in the collection of the National Gallery of Art. The head of Lucretia is extremely close in type and in concept to that of the bride: both are built up in a comparable fashion. Hook her dress at the Hudson-Fulton Celebration, Metropolitan Museum, New York, 1909, no clasps. The son of the best no works, nor lucretia painting information concerning Rembrandt ’ s motivation for painting.... The possession of the nobleman Lucius Tarquinius Collatinus similar is the use an... The beautiful and virtuous wife of the nobleman Lucius Tarquinius Collatinus establish the of..., Julius Held, “ Das gesprochene Wort bei Rembrandt, ” see Gerhardus! Paris dealer S. 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