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Chapter 1

1a. Rembrandt: B1040 verso The Figure of Antiope.
1b. Rembrandt (?) A Woman Picking the Pocket of a Sleeping Man.
1c. Rembrandt: B945 The Good Samaritan.
1d. Rembrandt: B1040 recto Jupiter and Antiope.
1e. School of Rembrandt: B.A32vol4 Samson and Delilah.
1f. Rembrandt:B557 Jacob's Dream.

Chapter 2

2a. Verrocchio: Study for the Pistoia Madonna.
2b. Verrocchio: The Pistoia Madonna (det.)
2c. Lorenzo di Credi: Drapery Study.
2d. Leonardo da Vinci: Drapery Study.

3a. Leonardo da Vinci: The Virgin and St Anne (cartoon).
3b. Leonardo da Vinci: Preliminary Study. for 3a.
3c. Leonardo da Vinci: Preliminary Study. for 3a.
3d. Leonardo da Vinci: St. George and the Dragon. (studies from imagination)

4a. Verrocchio: Madonna. (Berlin) showing pin pricks.

5a. Rembrandt: B188 Study for a Group in the Hundred Guilder Print.
5b. Rembrandt: The Hundred Guilder Print. (detail)

6a. Rembrandt: B728 Skeleton Horse and Rider.

7a. Rembrandt: The Descent from the Cross. (painting)
7b. Lucas Vorsterman: The Descent from the Cross. (engraving after Rubens)

Chapter 4

17a. Rembrandt(?): Two Orientals Disputing.
17b. Konstam Maquette showing subject of 17a.

18a. Rembrandt: B212 Two Orientals Standing.
18b. Konstam Maquette showing subject of 18a.

19a. Rembrandt: B959 The Stoning of St. Stephen.
19b. Konstam Maquette showing subject of 19a.

Chapter 5

20a. Rembrandt: B509 Isaac Blessing Jacob.
20b. Rembrandt: B891 Isaac Blessing Jacob.
20c. Rembrandt(?):Bvol.6A81 David Appointing Solomon as his Successor.
20d. Rembrandt: B1065 Isaac Blessing Jacob.
20e. Rembrandt: B892 Isaac Blessing Jacob.
20f. Konstam Maquette showing subject of 20c and mirror showing subject of 20a.
20g. Konstam Maquette showing subject of 20b and mirror showing approx. subject of 20d.

21a. Rembrandt: B314 Geertje Dircz.
21b. Rembrandt: B315 Geertje Dircz.
21c. Konstam Maquette showing subject of
21b and mirror showing subject of 21a.

22a. Artist in his Studio Painting a Seated Man.
22b. Rembrandt (?): Artist in his Studio Painting a Seated Man.

23a. Rembrandt: Christ Preaching.
23b. Konstam Maquette with two mirrors showing part of the subject of 21a.
23c. Rembrandt:B520 Mourners Beneath the Cross.

24a. Rembrandt:B480 Beheading of John the Baptist.
24b. Rembrandt:B480a Beheading of John the Baptist.
24c. Rembrandt:B477 Nude Man Kneeling. (John the Baptist)

25a. Rembrandt:B541 The Brethren of Joseph.
25b. Rembrandt:B542 The Brethren of Joseph.
25c. Rembrandt:B991 Jacob is Shown Joseph's Bloodstained Coat.

26a. Raphael: Study for Figures in the Borghese Entombment. (Ashmolean)
26b. Raphael: Study for Figures in the Borghese Entombment.
26c. Raphael: The Entombment. (Villa Borghese)

27a. Rembrandt:B482 recto The Entombment.
27b. Rembrandt:B485 The Entombment.
27c. Rembrandt:B485a Several Scenes of Executions.
27d. Rembrandt:B60 The Entombment.
27e. Rembrandt:B518a The Good Samaritan.
27f. Rembrandt (?): The Good Samaritan.
27g. Rembrandt (attrib.) The Good Samaritan. (painting)

28a. Rembrandt:B293 recto An Actor.
28b. Rembrandt:B294 recto An Actor.

29a. Rembrandt:B61 Raising of Jairus' Daughter. c.1632-3
29b. Rembrandt:B1064 Raising of Jairus' Daughter. c.1660-02

30a. Rembrandt(?):Bvol22A1 Raising of Jairus' Daughter.
30b. Rembrandt(?):Bvol.4c50 Raising of Jairus' Daughter.

31a. Rembrandt:B948 David and Nathan.
31b. Rembrandt:B947 David and Nathan.
31c. Rembrandt:B889 Christ and Niccodemus.

Chapter 6

32a. Rembrandt:B447 Dismissal of Hagar. (after Lastman)

33a. Rembrandt:B524 Dismissal of Hagar.
33b. Rembrandt:B916 Dismissal of Hagar.
33c. Rembrandt:B1008 Dismissal of Hagar.
33d. Konstam Maquette of subject of 33a with mirror showing subject of 33c, f and g.
33e. Rembrandt:B602 Hagar.
33f. Rembrandt:B499 Dismissal of Hagar.
33g. Rembrandt:B525 Dismissal of Hagar.33h. Konstam Maquette showing subject of
33a and mirror showing subject of 33j and approx. subject of 33k.
33j. Rembrandt (attrib.) Dismissal of Hagar. (Hermitage)
33k. Rembrandt:B504 Dismissal of Hagar.
33l. Rembrandt:B962 Dismissal of Hagar.
33m. Rembrandt:B649 Dismissal of Hagar.

Chapter 7

34a. Rembrandt(?):B475 Finding of Moses.
34b. Rembrandt:B567 The Holy Family.

35a. Rembrandt:B1002 Raising of Jairus' Daughter.
35b. Rembrandt:B869a Christ as Gardener Appearing to the Magdalen.

36a. Rembrandt(?):B1379 Job and his Comforters.
36b. Rembrandt:B628 Job and his Comforters.

37a. Rembrandt(?):S
37b. Rembrandt(?):S
37c. Rembrandt: Anslo and his Wife. (painting)
37d. School of Rembrandt: Nathan Before David. (Lutzschena) (There is an alternative in Benesch B918)

38a. Rembrandt:B1095 Boy Drawing at a Desk.

39a. Rembrandt:B1179 A Syndic.

40a. Rembrandt:B612 Parable of the Unworthy Wedding Guest.
40b. Rembrandt: Belchezzar's Feast. (painting)

41a. Rembrandt: Woman Wading. (painting)

42a. Mantegna: Calumny of Apelles. (engraving)
42b. Rembrandt:B1207 Copy after Mantegna. (42a)

43a. Rembrandt(?):S492 Isaac Refusing to Bless Esau.

Caption 61

The photo is of a maquette to represent Rembrandt's studio set up with live models and a mirror for his series of drawings of Isaac and Jacob. Below is a drawing that scholars have dated 1652 ( Rembrandt's classical style) and above, a drawing they date 1661 (his mature style).

The photo demonstrates how both were drawn from the same seat in the studio, under identical lighting conditions and very nearly the same group of models, only Rebecca has moved. Common sense suggests they were drawn one after the other- not after a gap of 9 years.

Clearly the style of the two drawings is very different but the difference can be very well explained by Rembrandt's differing response to reality (below) and reflection in a dim mirror (above). This same difference has been demonstrated many times in Rembrandt's work. eg. The Adoration of the Shepherds, The Dismissal of Hagar and this series of drawings of death bed scenes.

Konstam's article Rembrandt's Use of Models and Mirrors was published in The Burlington Magazine in February 1977. That article invalidated stylistic criticism but the scholars continue to destroy Rembrandt and waste everybody's time with their out-dated theories.

Next Chapter: Acknowledgements