Joseph Accused by Potiphar's Wife

1655

A pale-skinned woman sits in a pool of light against a deeply shadowed background in the bottom half of this vertical painting. She sits in the center of the composition, in a heavy wooden armchair next to a bed, which is flanked by two men. The woman wears a rose-pink, fur-trimmed robe draped over a white chemise. A pearl necklace and gold bracelets gleam at her throat and wrists, and her chestnut-brown hair is partially pulled up while curls fall to her shoulders. She looks to her left, our right, at a shadowy bearded man. He wears a turban wrapped in a gold chain, a cloak patterned with shades of bronze, olive green, and rust red, and a sword hangs from his belt. He stands facing our left, stooping slightly to rest his right arm, farther from us, on her chair, and his hand brushes her shoulder. The woman's mouth is open and brow furrowed as she points to the bed with her right hand, to our left. Her other hand holds up the loose neckline of her chemise to cover her chest. The bed is angled slightly away from us, to our left. It is covered with white linens and a mustard-yellow coverlet. A burgundy-red cloth or garment is draped over a bedpost at the foot of the bed. A younger man stands on the far side of the bed with his body angled to our right. He wears an olive-green tunic. A broad, scarlet-red sash is tied around his waist, and a bunch of keys hangs from it. Shoulder-length, light brown hair frames his face. His head tilts slightly to our right, and his hands are clasped at the waist, holding what looks like a black cap. A faint light him behind him creates a soft halo around his body. The top half of the painting is swallowed in deep shadow. The artist signed and dated the painting in the lower right, “Rembrandt. f. 1655.”

Media Options

Skip thumbnail navigation
Back to thumbnail navigation
This object’s media is free and in the public domain. Read our full Open Access policy for images.

After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden. Around 1632 he moved to Amsterdam, quickly establishing himself as the town’s leading artist, specializing in history paintings and portraiture. He received many commissions and attracted a number of students who came to learn his method of painting.

In the seventeenth century, history painting—the depiction of biblical, mythological, and allegorical scenes—was considered the pinnacle of artistic expression. Because such paintings required great imagination and dealt with fundamental moral and ethical issues, theorists ranked history painting before other subjects such as landscape, portraiture, and still life.

The story of Joseph fascinated Rembrandt, who made numerous drawings, prints, and paintings of this Old Testament figure. This particular work, however, was executed by one of Rembrandt’s workshop assistants after the master himself had determined the subject matter and composition. In this scene from the book of Genesis, chapter 39, Potiphar's wife, having failed to seduce Joseph, falsely accuses him of trying to violate her. Speaking to Potiphar, the wife points to the red robe Joseph left behind when he ran from her clutches, wickedly using the presence of the garment as evidence to support her accusation. In the biblical account, Joseph was not present, but the artist added poignancy to his visualization of the story by inserting Joseph on the far side of the bed. Rembrandt’s preoccupation with the theme of false accusation probably stemmed from the drawn-out lawsuit against him by Geertje Dirckx, a former companion, who claimed that he had promised to marry her.

On View

West Building Main Floor, Gallery 51

Order reproductions from the Gallery Shop

Artwork overview

  • Medium

    oil on canvas transferred to canvas

  • Credit Line

    Andrew W. Mellon Collection

  • Dimensions

    overall: 105.7 x 97.8 cm (41 5/8 x 38 1/2 in.)
    framed: 130.8 x 123.2 cm (51 1/2 x 48 1/2 in.)

  • Accession

    1937.1.79

More About this Artwork

Scholarly Article:  Dutch Paintings of the Seventeenth Century: Joseph Accused by Potiphar's Wife, 1655

This horizontal painting shows a group of eight light-skinned musicians and onlookers gathered closely around a rectangular, carpet-covered table. The front edge of the table runs parallel to the bottom edge of the painting, and seems close to us. Shown from about the waist up, the men and women’s vivid lapis-blue, coral-red, buttercup-yellow, lilac-purple, and moss-green garments fall in crisp folds. Bright reflections on the fabric suggest a satin-like material. Two women wear feathers in their hair and one man’s hat is plumed. One man, wearing crimson red and black, sits with his back to us to our left on the near side of the table. He holds the neck of a bass viol, about the size of a cello, with his left hand, and points to pages of an open music book with the bow in his right hand. The other people cluster on the far side of the table. A man to the left plays a violin; a woman at the center plays a guitar-sized bandora, and a woman to our right plays a lute. The musicians, along with a man who leans over the table from between the two women, look down at the music books. A young man behind the woman at the center holds up a glass of pale liquid with his right hand as he touches his left forefinger to his smiling lips. A man and woman stand close together in the background to our right, in the top right corner of the canvas.

Scholarly Series:  Dutch Paintings of the Seventeenth Century

Artwork history & notes

Provenance

Gerard Hoet, Jr. [d.1760], The Hague; (his sale, by Arnoldus Franken, The Hague, 25-26 August 1760, no. 44).[1] Johann Ernst Gotzkowsky [1710-1775], Berlin; acquired in 1763 by Catherine II, empress of Russia [1729-1796], Saint Petersburg; Imperial Hermitage Gallery, Saint Petersburg; sold January 1931, as a painting by Rembrandt, through (Matthiesen Gallery, Berlin, P. & D. Colnaghi & Co., London, and M. Knoedler & Co., New York) to Andrew W. Mellon, Pittsburgh and Washington; deeded 1 May 1937 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[2] gift 1937 to NGA.
[1] Gerard Hoet, Catalogus of Naamlyst van Schilderijen..., 2 vols., The Hague, 1752, supplement by Pieter Terwesten, 1770, reprint ed. Soest, 1976, 3: 225, no. 44. The painting, which was described as a "kapitaal en uitmuntend stuk," sold for 100 florins.
[2] The Mellon purchase date and the date deeded to the Mellon Trust are according to Mellon collection records in NGA curatorial files and David Finley's notebook (donated to the National Gallery of Art in 1977, now in the Gallery Archives).
In 2012 The Getty Research Institute, Los Angeles, acquired the M. Knoedler & Co. records (accession number 2012.M.54), and in 2013 processed portions of the archive were first made publicly available. An entry from a January 1931 Knoedler sales book confirms the sale to Mellon (on-line illustration of the sales book page, in Karen Meyer-Roux, "Treasures from the Vault: Knoedler, Mellon, and an Unlikely Sale," The Getty Iris [http://blogs.getty.edu/iris/author/kmeyerroux/], 30 July 2013).

Associated Names

Exhibition History

1933

  • Loan Exhibition of Paintings by Rembrandt, Knoedler Galleries, New York, 1933, no. 10.

1934

  • A Century of Progress: Exhibition of Paintings and Sculpture, The Art Institute of Chicago, 1934, no. 105, repro.

1935

  • Rembrandt Tentoonstelling, Rijksmuseum, Amsterdam, 1935, no. 17.

1969

  • Rembrandt in the National Gallery of Art [Commemorating the Tercentenary of the Artist's Death], National Gallery of Art, Washington, D.C., 1969, no. 13, repro.

1980

  • Gods, Saints & Heroes: Dutch Painting in the Age of Rembrandt, National Gallery of Art, Washington, D.C.; The Detroit Institute of Arts; Rijksmuseum, Amsterdam, 1980-1981, no. 28, repro.

1984

  • In Quest of Excellence: Civic Pride, Patronage, Connoisseurship, Center for the Fine Arts, Miami, 1984, no. 52, repro.

1993

  • Painting the Bible in Rembrandt's Holland, The Israel Museum, Jerusalem, 1993, no. 161, repro. (catalogue titled Rembrandt's Holland).

1994

  • Im Lichte Rembrandts: Das Alte Testament im Goldenen Zeitalter der niederländischen Kunst [Rembrandt and the Old Testament], Westfälisches Landesmuseum, Münster, 1994, no. 25, repro.

2003

  • Rembrandt and the Rembrandt School: The Bible, Mythology and Ancient History, The National Museum of Western Art, Tokyo, 2003, no. 14, repro.

2006

  • Rembrandt : Quest of a Genius [Rembrandt - Zoektocht van een Genie] [Rembrandt - Genie auf der Suche], Museum Het Rembrandthuis, Amsterdam; Kulturforum, Berlin, 2006, no. 63, repro.

Bibliography

1752

  • Hoet, Gerard. Catalogus of Naamlyst van Schilderyen. Supplement by Pieter Terwesten. 2 vols. The Hague, 1752-1770: 2(1770):225, no. 44.

1773

  • Imperial Hermitage Museum [probably Ernst von Münnich, ed.] "Catalogue raisonné des tableaux qui se trouvent dans les Galeries, Sallons et Cabinets du Palais Impérial de S. Pétersbourg, commencé en 1773 et continué jusqu’en 1785.” 3 vols. Manuscript, Fund 1, Opis’ VI-A, delo 85, Hermitage Archives, Saint Petersburg,1773-1783 (vols. 1-2), 1785 (vol. 3): no. 7.

1774

  • Imperial Hermitage Museum [probably Ernst von Münnich, ed.]. Catalogue des tableaux qui se trouvent dans les Cabinets du Palais Impérial à Saint-Pétersbourg. Based on the 1773 manuscript catalogue. Saint Petersburg, 1774: no. 7, as by Rembrandt.

1828

  • Schnitzler, Johann Heinrich. Notice sur les principaux tableaux du Musée Impérial de l'Ermitage à Saint-Petersbourg. Saint Petersburg and Berlin, 1828: 57.

1829

  • Smith, John. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters. 9 vols. London, 1829-1842: 7(1836):8-9, no. 21.

1838

  • Imperial Hermitage Museum. Livret de la Galérie Impériale de l'Ermitage de Saint Petersbourg. Saint Petersburg, 1838: 128, no. 37.

1859

  • Blanc, Charles. L’Oeuvre Complet de Rembrandt. 2 vols. Paris, 1859–1861: 2: 259.

1863

  • Köhne, Baron Bernhard de. Ermitage Impérial, Catalogue de la Galérie des Tableaux. Saint Petersburg, 1863: 169, no. 794.

1864

  • Waagen, Gustav Friedrich. Die Gemäldesammlung in der kaiserlichen Ermitage zu St. Petersburg nebst Bemerkungen über andere dortige Kunstsammlungen. Munich, 1864: 179, no. 794.

1868

  • Vosmaer, Carel. Rembrandt Harmens van Rijn, sa vie et ses œuvres. The Hague, 1868: 276, 490.

1870

  • Köhne, Baron Bernhard de. Ermitage Impérial: Catalogue de la Galérie des Tableaux. 3 vols. 2nd ed. Saint Petersburg, 1870: 2:131, no. 794.

1872

  • Massaloff, Nicolas. Les Rembrandt de l’Ermitage Impérial de Saint-Pétersbourg. Leipzig, 1872: 4, engraved repro.

1873

  • Blanc, Charles. L’Oeuvre de Rembrandt. 2 vols. Paris, 1873: 2(1861):259.

1877

  • Vosmaer, Carel. Rembrandt Harmens van Rijn: sa vie et ses oeuvres. 2nd ed. The Hague, 1877: 551.

1879

  • Mollett, John W. Rembrandt. Illustrated biographies of the great artists. London, 1879: 93.

  • Ris, Comte Louis Clement de. "Musée Impérial de l’Ermitage à Saint-Pétersbourg (last of 4 articles)." Gazette des Beaux-Arts 20 (November 1879): 382.

1883

  • Bode, Wilhelm von. Studien zur Geschichte der holländischen Malerei. Braunschweig, 1883: 508, 599, no. 319.

1885

  • Dutuit, Eugène. Tableaux et dessins de Rembrandt: catalogue historique et descriptif; supplément à l'Oeuvre complet de Rembrandt. Paris, 1885: 39, 59, 69, no. 14.

1886

  • Wurzbach, Alfred von. Rembrandtgalerie. Stuttgart, 1886: no. 389.

1893

  • Michel, Émile. Rembrandt: Sa vie, son oeuvre et son temps. Paris, 1893: 566.

1894

  • Michel, Émile. Rembrandt: His Life, His Work, and His Time. 2 vols. Translated by Florence Simmonds. New York, 1894: 2:80-81, 245.

1895

  • Somov, Andrei Ivanovich. Ermitage Impérial: Catalogue de la Galérie des Tableaux. 2 vols. 3rd ed. Saint Petersburg, 1895: 2:273-274, no. 794.

1897

  • Bode, Wilhelm von, and Cornelis Hofstede de Groot. The Complete Work of Rembrandt. 8 vols. Translated by Florence Simmonds. Paris, 1897-1906: 6:3-4, 34, no. 401, repro.

1899

  • Bell, Malcolm. Rembrandt van Rijn and His Work. London, 1899: 81, 181.

1901

  • Somov, Andrei Ivanovich. Ermitage Impérial: Catalogue de la Galérie des Tableaux. 2 vols. 4th ed. Saint Petersburg, 1901: 2:308, no. 794.

1902

  • Neumann, Carl. Rembrandt. Berlin, 1902: 357-358.

1904

  • Rosenberg, Adolf. Rembrandt: des Meisters Gemälde. Klassiker der Kunst in Gesamtausgaben 2. Stuttgart, 1904: 196, repro.

1906

  • Michel, Émile. Rembrandt Harmensz. van Rijn: A Memorial of His Tercentenary. New York, 1906: 93.

  • Veth, Jan. Rembrandt's Leven en Kunst. Amsterdam, 1906: 145.

  • Rosenberg, Adolf. Rembrandt, des Meisters Gemälde. Klassiker der Kunst in Gesamtausgaben 2. 2nd ed. Stuttgart, 1906: xxix-xxx, repro. 301, 403.

  • Wustmann, Rudolf. "Die Josephgeschichte bei Vondel und Rembrandt." Kunstchronik 18 (23 November 1906): 82–83.

  • Wurzbach, Alfred von. Niederlandisches Kunstler-Lexikon. 3 vols. Vienna, 1906-1911: 2(1910):409.

1907

  • Hofstede de Groot, Cornelis. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. 8 vols. Translated by Edward G. Hawke. London, 1907-1927: 6(1916):32-33, no. 18.

  • Bell, Malcolm. Rembrandt van Rijn. The great masters in painting and sculpture. London, 1907: 77, 151.

  • Rosenberg, Adolf. The Work of Rembrandt, reproduced in over five hundred illustrations. Classics in Art 2. New York, 1907: 304, repro.

  • Hofstede de Groot, Cornelis. Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts. 10 vols. Esslingen and Paris, 1907-1928: 6(1915):16, 17, no. 18.

1908

  • Rosenberg, Adolf. Rembrandt, des Meisters Gemälde. Klassiker der Kunst in Gesamtausgaben 2. 3rd ed. Stuttgart and Berlin, 1908: xxxi-xxxii, repro. 376, 561.

1909

  • Wrangell, Baron Nicolas. Les Chefs-d’Oeuvre de la Galérie de Tableaux de l’Ermitage Impérial à St. Pétersbourg. London, 1909: xxix, repro. 121.

  • Rosenberg, Adolf. Rembrandt: Des Meisters Gemälde. Edited by Wilhelm R. Valentiner. Klassiker der Kunst in Gesamtausgaben 2. Stuttgart and Leipzig, 1909: xxxi-xxxii, repro. 376, 561.

1911

  • Bénézit, Emmanuel. Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs & graveurs de tous les temps et de tous les pays. 3 vols. Paris, 1911: 3:617, 619 .

1913

  • Rosenberg, Adolf. The Work of Rembrandt, reproduced in over five hundred illustrations. Classics in Art 2. 2nd ed. New York, 1913: 20, repro. 376.

1918

  • Wrangell, Baron Nicolas. Die Meisterwerke der Gemälde-Galerie in der Ermitage zu St. Petersburg. Edited by Georg Korczewski. 2nd ed. Munich, 1918: xxix, repro. 121.

1920

  • Errera, Isabelle. Répertoire des peintures datées. 2 vols. Brussels and Paris, 1920-1921: 1(1920):282, dated 1655.

1921

  • Rosenberg, Adolf. The Work of Rembrandt. Edited by Wilhelm R. Valentiner. Classics in Art 2. 3rd ed. New York, 1921: 20, 376, repro.

1922

  • Neumann, Carl. Rembrandt. 2 vols. Revised ed. Munich, 1922: 2:383-384.

1923

  • Weiner, Peter Paul von. Meisterwerke der Gemäldesammlung in der Eremitage zu Petrograd. Revised ed. Munich, 1923: 138, repro.

  • Meldrum, David S. Rembrandt’s Painting, with an Essay on His Life and Work. New York, 1923: 201, pl. 396.

  • Van Dyke, John C. Rembrandt and His School. New York, 1923: 39.

  • Weiner, Pierre Paul von. Les chefs-d'oeuvre de la Galerie de tableaux de L'Ermitage à Petrograd. Les Chefs-d'Oeuvres des Galeries Principaux de L'Europe 8. Revised ed. Munich, 1923: repro.

1924

  • Bénézit, Emmanuel. Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs & graveurs de tous les temps et de tous les pays. 3 vols. Paris, 1911-1924: 3:617, 619.

1933

  • "American Art Notes [Rembrandt Loan Exhibition]." _The Connoisseur _ 91 (April 1933): 275-277, repro.

  • Watson, Forbes. "Gallery Explorations." Parnassus 5 (April 1933): 1-2, repro.

  • Rich, Daniel Catton, ed. A Century of Progress: Exhibition of Paintings and Sculpture. Exh. cat. Art Institute of Chicago, 1933: 18-19, no. 105.

  • M. Knoedler & Co. Loan exhibition of paintings by Rembrandt. Exh. cat. M. Knoedler & Co., New York, 1933: no. 10.

  • Frankfurter, Alfred M. "New York's First Rembrandt Exhibition." The Fine Arts (May 1933): 8, repro. on cover.

1935

  • Chamot, Mary. "The Rembrandt and Vermeer Exhibitions." Apollo 22 (October 1935): 201, repro.

  • Rich, Daniel Catton. "Rembrandt Remains." Parnassus 7 (October 1935): 3-5, repro.

  • Scharf, Alfred. "Dutch and Flemish Painting at the Brussels, Amsterdam and Rotterdam Exhibitions." Connoisseur 96 (November 1935): 250.

  • Schmidt-Degener, Frederik. Rembrandt Tentoonstelling, ter herdenking van de plechtige opening van het Rijksmuseum. Exh. cat. Rijksmuseum, Amsterdam, 1935: no. 17.

  • Bredius, Abraham. Rembrandt Schilderijen, 630 Afbeeldingen. Utrecht, 1935: no. 523, repro.

  • Bredius, Abraham. Rembrandt Gemälde, 630 Abbildungen. Vienna, 1935: no. 523, repro.

1936

  • Bredius, Abraham. The Paintings of Rembrandt. New York, 1936: no. 523, repro.

  • “Die sowjetrussischen Kunstverkäufe.” Die Weltkunst 47 (29 November 1936): 1, repro.

1941

  • National Gallery of Art. Preliminary Catalogue of Paintings and Sculpture. Washington, 1941: 166, no. 79.

1942

  • National Gallery of Art. Book of illustrations. 2nd ed. Washington, 1942: 79, repro. 31, 240.

  • Bredius, Abraham. The Paintings of Rembrandt. 2 vols. Translated by John Byam Shaw. Oxford, 1942: 1:31, no. 523; 2:repro.

1943

  • Benesch, Otto. "The Rembrandt Paintings in the National Gallery of Art." The Art Quarterly 6, no. 1 (Winter 1943): 27, 29 fig. 8.

1948

  • Rosenberg, Jakob. Rembrandt. 2 vols. Cambridge, MA, 1948: 1:137.

1949

  • National Gallery of Art. Paintings and Sculpture from the Mellon Collection. Washington, 1949 (reprinted 1953 and 1958): 85, repro.

1954

  • Münz, Ludwig. Rembrandt Harmenszoon van Rijn. The Library of Great Painters. New York, 1954: 114.

  • Benesch, Otto. The Drawings of Rembrandt: A Critical and Chronological Catalogue. 6 vols. London, 1954-1957: 5(1957):277.

1960

  • Goldscheider, Ludwig. Rembrandt Paintings, Drawings and Etchings. London, 1960: 177, no. 85, repro.

  • Roger-Marx, Claude. Rembrandt. Translated by W.J. Strachan and Peter Simmons. New York, 1960: 72-73, 280.

  • Bauch, Kurt. Der frühe Rembrandt und seine Zeit: Studien zur geschichtlichten Bedeutung seines Frühstils. Berlin, 1960: 258 n. 96.

1962

  • Cairns, Huntington, and John Walker, eds. Treasures from the National Gallery of Art. New York, 1962: 98, color repro.

1963

  • Walker, John. National Gallery of Art, Washington, D.C. New York, 1963 (reprinted 1964 in French, German, and Spanish): 182, repro.

1964

  • Rosenberg, Jakob. Rembrandt: Life and Work. Revised ed. Greenwich, Connecticut, 1964: 222.

1965

  • Krieger, Peter. "Die Berliner Rembrandt-Sammlung." Speculum Artis 17 (February 1965): 14.

  • National Gallery of Art. Summary Catalogue of European Paintings and Sculpture. Washington, 1965: 109.

1966

  • Bauch, Kurt. Rembrandt Gemälde. Berlin, 1966: 3, no. 33, repro.

  • Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1: 230, color repro., as by Rembrandt.

1967

  • Regteren Altena, J.Q. van. "Review of Bauch 1966." Oud Holland 82 (1967): 69-71.

1968

  • Gerson, Horst. Rembrandt Paintings. Amsterdam, 1968: 114, 116, 362-363, repro., 499.

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 96, repro.

1969

  • Bredius, Abraham. Rembrandt: The Complete Edition of the Paintings. Revised by Horst Gerson. 3rd ed. London, 1969: repro. 432, 601, no. 523.

  • National Gallery of Art. Rembrandt in the National Gallery of Art: Commemorating the tercentenary of the artist's death. Exh. cat. National Gallery of Art, Washington, 1969: 6, 23, no. 13, repro.

1970

  • Benesch, Otto. Otto Benesch Collected Writings. 2 vols. Edited by Eva Benesch. London and New York, 1970: 1:83-100, 140-146, fig. 69.

1973

  • Kauffmann, Hans. "Anmerkungen zu Rembrandts Potipharbildern." In Neue Beiträge zur Rembrandt-Forschung. Edited by Otto von Simson and Jan Kelch. Berlin, 1973: 50-57, fig. 14.

  • Benesch, Otto. The Drawings of Rembrandt. 6 vols. Edited by Eva Benesch. Enlarged ed. London, 1973: 5:265.

  • Klessmann, Rudiger. "Zum Röntgen-Befund des Potiphar-Bildes in Berlin." In Neue Beiträge zur Rembrandt-Forschung. Edited by Otto Georg von Simson and Jan Kelch. Berlin, 1973: 44-49, fig. 14.

1974

  • Potterton, Homan. "'A Commonplace Practitioner in Painting and in Etching': Charles Exshaw." The Connoisseur 187 (December 1974): 273, fig. 8 (etching after the painting).

1975

  • National Gallery of Art. European paintings: An Illustrated Summary Catalogue. Washington, 1975: 286, repro.

  • Walker, John. National Gallery of Art, Washington. New York, 1975: 280, no. 371, color repro.

1976

  • Hoet, Gerard. Catalogus of naamlyst van schilderyen. 3 vols. Reprint of 1752 ed. with supplement by Pieter Terwesten, 1770. Soest, 1976: 3:225, no. 44.

1977

  • Bolten, J., and H. Bolten-Rempt. The Hidden Rembrandt. Translated by Danielle Adkinson. Milan and Chicago, 1977: 196, no. 437, repro.

1980

  • Blankert, Albert, et al. Gods, Saints, and Heroes: Dutch Painting in the Age of Rembrandt. Exh. cat. National Gallery of Art, Washington; Detroit Institute of Arts; Rijksmuseum, Amsterdam. Washington, 1980: 148-149, no. 28, repro.

1984

  • Tümpel, Christian. "Die Rezeption der Jüdischen Altertümer des Flavius Josephus in den holländischen Historiendarstellungen des 16. und 17. Jahrhunderts." In Wort und Bild in der Niederländischen Kunst und Literatur des 16. u. 17. Jahrhunderts. Edited by H. Vekeman and J. Müller Hofstede. Erfstadt, 1984: 191, pl. 28.

  • Schwartz, Gary. Rembrandt: Zijn leven, zijn schilderijen. Maarssen, 1984: 272, 274-275, no. 310, repro.

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 280, no. 365, color repro., as by Rembrandt van Ryn.

  • Marck, Jan van der. In quest of excellence: civic pride, patronage, connoisseurship. Exh. cat. Center for the Fine Arts, Miami, 1984: 232, 239, no. 52, repro.

  • Münz, Ludwig. Rembrandt. Revised ed. London, 1984: 96.

1985

  • National Gallery of Art. European Paintings: An Illustrated Catalogue. Washington, 1985: 330, repro.

  • Schwartz, Gary. Rembrandt: His Life, His Paintings. New York, 1985: 173, 272, 274-275, no. 310, repro.

1986

  • Sutton, Peter C. A Guide to Dutch Art in America. Washington and Grand Rapids, 1986: 312.

  • Tümpel, Christian. Rembrandt. Translated by Jacques and Jean Duvernet, Léon Karlson, and Patrick Grilli. Paris, 1986: repro. 279, 419, no. A2.

1991

  • Bal, Mieke. Reading "Rembrandt": beyond the word-image opposition. Cambridge New Art History and Criticism. Cambridge, 1991: 34-39, 43, 46-48, 105-108, 117, 123, 140, 199, 217, 405 n. 24, 451 n.13, repros. 1.2, 1.7, 3.4.

  • Tümpel, Christian. Het Oude Testament in de schilderkunst van de Gouden Eeuw. Exh. cat. Joods Historisch Museum, Amsterdam; Israel Museum, Jerusalem. Zwolle, 1991: 200.

  • Kopper, Philip. America's National Gallery of Art: A Gift to the Nation. New York, 1991: 91, 94, color repro.

1992

  • National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 131, repro.

1993

  • Baron, Jean-Marie, and Pascal Bonafoux. Rembrandt, la Bible. Paris, 1993: 52-53, repro.

  • Weyl, Martin, and Rivka Weiss-Blok, eds. Rembrandt shel Holland [Rembrandt's Holland]. Exh. cat. Israel Museum, Jerusalem, 1993: 163, no. 161, repro.

1994

  • Tümpel, Christian. Im Lichte Rembrandts: das Alte Testament im Goldenen Zeitalter der niederländischen Kunst. Exh. cat. Westfälisches Landesmuseum, Münster. Zwolle, 1994: 45, 251-252, no. 25, repro.

1995

  • Wheelock, Arthur K., Jr. Dutch Paintings of the Seventeenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1995: 314-321, color repro. 315.

1997

  • Blankert, Albert. Rembrandt: A Genius and his Impact, Exh. cat. National Gallery of Victoria, Melbourne; National Gallery of Australia, Canberra. Zwolle, 1997: 141, no. 16e, repro.

1998

  • Lindgren, Claire. "Calumny." In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. Edited by Helene E. Roberts. 2 vols. Chicago, 1998: 1:153.

  • Roberts, Helene E., ed. Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art. 2 vols. Chicago, 1998: 1:130, 153.

2000

  • Il'in, Nikolas, and Natalia Semënova. Prodannye sokrovishcha Rossii [Sold Treasures of Russia]. Moscow, 2000: 118, 119, repro.

2001

  • Lloyd Williams, Julia. Rembrandt's Women. Exh. cat. National Gallery of Scotland, Edinburgh; Royal Academy of Arts, London. London, 2001: 210, fig. 146.

2003

  • Kofuku, Akira. Rembrandt and the Rembrandt school: the Bible, mythology and ancient history. Exh. cat. Kokuritsu Seiyo Bijutsukan, Tokyo, 2003: 84-85, no. 14, repro.

  • Korthals Altes, Everhard. De verovering van de internationale kunstmarkt door de zeventiende-eeuwse schilderkunst: enkele studies over de verspreiding van Hollandse schilderijen in de eerste helft van de achttiende eeuw. Leiden, 2003: 152-153, repro.

2006

  • Rønberg, Lene Bøgh, and Eva de la Fuente Pedersen. Rembrandt?: The Master and His Workshop. Exh. cat. Statens Museum for Kunst, Copenhagen, 2006: 118-120, fig. 22.

  • Wetering, Ernst van de. "Rembrandt's Art: Attempting an Objective Evaluation." In Rembrandt: Quest of a Genius. Edited by Ernst van de Wetering. Exh. cat. Museum Het Rembrandthuis, Amsterdam; Gemäldegalerie, Berlin. Zwolle, 2006: 239-244, fig. 267.

2009

  • Odom, Anne, and Wendy R. Salmond, eds. Treasures into Tractors: The Selling of Russia's Cultural Heritage, 1918-1938. Washington, D.C., 2009: 135 n. 62.

2011

  • Fiedler, Susanne, and Torsten Knuth. "Vexierbilder einer Biographie: Dr. Heinz Mansfeld (1899-1959)." Mecklenburgische Jahrbücher 126 (2011):307-308.

2013

  • Semyonova, Natalya, and Nicolas V. Iljine, eds. Selling Russia's Treasures: The Soviet Trade in Nationalized Art 1917-1938. New York and London, 2013: 138, 144, repro.

2014

  • Bikker, Jonathan, and Gregor J.M. Weber. Rembrandt: The Late Works. Exh. cat. National Gallery, London; Rijksmuseum, Amsterdam. London, 2014: 241, 243 fig. 81.

2016

  • Wecker, Menachem. "Famed Arts Patron Catherine the Great had Many Lovers, But She was a Prude." Washington Post 139, no. 120 (April 3, 2016): E2, repro.

  • Jaques, Susan. The Empress of Art: Catherine the Great and the Transformation of Russia. New York, 2016: 397, 398.

Inscriptions

lower right: Rembrandt. f.1655.

Wikidata ID

Q21485158

You may be interested in

Loading Results