European Painting and Sculpture

REMBRANDT HARMENSZ VAN RIJN
(Dutch, 1606-1669)

Portrait of a Forty-Year-Old Woman, possibly Marretje Cornelisdr. van Grotewal, 1634
Oil on panel
Purchased with funds contributed by individuals, corporations and the entire community of Louisville, as well as the Commonwealth of Kentucky 1977.16

One of the most famous Dutch artists of the 17th century, Rembrandt was known for his incredible skill as a portrait painter. This portrait of an unknown woman is often admired for its excellent condition due to the fact that it was never subjected to overly harsh cleaning, which so often resulted in the rubbing away of paint layers. For example, the opaque and translucent layers of paint that evoke subtle flesh tones remain intact, as do the flecks of white in the woman's eyes that animate her gaze. The highlights on her cheeks, reflecting the white of her stiff lace collar, are also preserved.

Although we do not know the sitter’s name or who she was, the portrait tells us much about her. The inscription at the left says she was forty years old when the portrait was painted. Her clothing indicates that she was a member of the prosperous middle class. She is soberly dressed, in keeping with the Calvinist religious beliefs prevalent in Holland at this time. Calvinism encouraged an outwardly conservative bearing and frowned upon showing off wealth or social position.

More subtly, Rembrandt creates a portrait that goes beyond mere physical likeness. Although the sitter is not a conventionally beautiful woman, her portrait is transfixing. Through the way he illuminates her face, Rembrandt creates a portrait of rare insight in which the eyes are truly mirrors of the soul.

The companion portrait to this painting, Portrait of a Bearded Man in a Wide-Brimmed Hat, 1633, depicts this woman’s husband. Since the two portraits were painted as a pair and meant to hang together, the interior lighting in both portraits comes from the left and the figures turn slightly towards each other.

The pair of portraits remained together until 1960 when they were sold separately at auction in New York City. The woman's portrait was purchased by the Speed Art Museum in 1977, and the Norton Simon Art Foundation purchased the husband's portrait in the same year.

These two portraits are Rembrandt's earliest husband and wife pair known to exist. Although the identity of the woman and her husband still eludes us, the high quality and essential dignity of their portraits indicate that Rembrandt clearly empathized with his subjects.