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  • 7/26/2019 Rembrandt Portrait of a Musician

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    Rembrandt's Portrait of a MusicianAuthor(s): Barry S. Brook and Carol OjaSource: College Music Symposium, Vol. 18, No. 1 (Spring, 1978), pp. 132-135Published by: College Music Society

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  • 7/26/2019 Rembrandt Portrait of a Musician

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    Rembrandt, Portrait of a Musician

    (Courtesy, The W.A. Clark Collection of the Corcoran Gallery of Art)

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    Rembrandt s Portrait of a Musician

    Barry S. Brook and Carol Oja

    City University of New York

    The Corcoran Gallery's Portrait of a Musician by Rembrandt- signed and

    dated 1633- presents the iconographer with a maze of problems and a multi-

    tude of contradictory hypotheses. Although the Corcoran labels it a portrait of

    Heinrich Schtz by Rembrandt, there has been considerable controversy sur-

    rounding both the identity of the musician and the authenticity of the painting

    as a work of Rembrandt.

    At least one well-known Rembrandt scholar, H. Gerson, in his revised

    edition of A. Bredius's Rembrandt, doubts that the painting is by Rembrandt at

    all. The attribution to Rembrandt, he states, is not correct. The handling

    seems closer to Jacob Backer [Rembrandt's pupil in 1632]. Some details- the

    hands [sic] for instance- are rather poor. 1 Another distinguished Rembrandt

    specialist, Julius Held, is convinced that the hand with the music scroll was

    not painted by Rembrandt, but was added later. 2 The authenticity of the

    painting as a whole has been generally accepted, however, especially when it

    is realized that Rembrandt often made later alterations in his pictures. The

    question of the model's hand and the scroll of music was confronted in the

    report made by the Corcoran Gallery after the painting was cleaned in 1955;

    it concluded that the hand was painted over the model's black cloak, but that

    the paint of the hand and scroll was chemically identical with the paint of the

    face and so they must be virtually the same age; if not added by Rembrandt

    himself, therefore, they must be closely contemporary. 3

    In the dispute over the identity of the portrait subject, three claimants

    have been presented: Nicholas Lanier, Heinrich Schtz, and Constantijn Huy-

    gens. The identification of the sitter as Nicholas Lanier, the London musician,

    was made in 1936 by A. de Hevesy, who based his argument primarily on the

    comparison of the Rembrandt painting with a self-portrait of Lanier, now lo-

    1 A. Bredius, The Complete Edition of the Paintings of Rembrandt, 3rd rev. and transi, ed. by Horst

    Gerson (New York: Phaidon, 1969), 362.

    2Julius Held, Letters: Rembrandt and Nicholas Lamer, The Burlington Magazine 69

    1936), 286.

    3The Corcoran Gallery of Art, Washington D.C., Cat. 1955, pp. 35, 50.

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    34 COLLEGE MUSIC SYMPOSIUM

    cated at Oxford.4 The resemblance between the men depicted in the two paint-

    ings was slight, however, and the hypothesis received little acceptance.

    Another, more widely accepted theory was advanced in 1937 by Bruno

    Maerker, who suggested that the subject of Rembrandt's portrait was the il-

    lustrious Heinrich Schtz.5 As proof Maerker compared the painting to one of

    the three known portraits of Schtz- that by Christoph Spetner in the Leipzig

    University Collection6- and postulated that the subjects of the two works bore

    striking similarity to one another. Maerker further attempted to substantiate

    his claim by suggesting that Heinrich Schtz visited Amsterdam during 1633,

    thereby placing him in proximity to Rembrandt. Further support was granted

    to this hypothesis in 1963 when Otto Benesch tried to link Schtz and Rem-

    brandt through their dealings with Burckhardt Grossmann, the son of an ac-

    quaintance of Schtz.7 The Maerker-Benesch theory was readily accepted by

    many musicologists, most notably Hans Joachim Moser- Schtz's biographer,

    who confessed to his early skepticism, but later came to agree that the portrait

    could very likely depict Schtz8- and Wolfgang Rehm of the Heinrich Schtz

    Gesellschaft.

    The identification of Rembrandt s musician as Heinrich Schtz is indeed

    intriguing, especially in light of the historical possibilities suggested by a meet-

    ing between two men of their stature. In his study of Rembrandt's Christ Pre-

    sented to the People, Emanuel Winternitz speculated that it is, of course,

    tempting to ponder what the two great original interpreters of the Bible- one

    for the eye, the other for the ear- would have communicated to each other. 9

    The credibility of such a theory rests, however, on the question of whether or

    not Schtz visited Amsterdam during 1633. Although it is known that he was

    granted a leave of absence from his post in Dresden during this year and that

    he visited both Hamburg and Copenhagen, there is no evidence whatever that

    he took a side trip to Amsterdam. Any meeting between the two remains

    conjecture.

    Whereas for Constantijn Huygens, the final candidate for the subject of

    Rembrandt's painting, there is much supporting evidence. Not only did he

    4A. de Hevesy, Rembrandt and Nicholas Lanier, The Burlington Magazine 69 (1936), 153-

    54.

    5Bruno Maerker, Rembrandts Bildnis eines Musikers- Ein Schtz-Portrait? Deutsche

    Musikkultur 2 (1937-38), 329-45.

    6The two other known portraits of Schtz include an engraving by Christian Romstet and

    a painting by an unknown German master of around 1670 housed in the Deutsche Staats-

    bibliothek in Berlin.

    7Otto Benesch, Schtz and Rembrandt, Festschrift Otto Erich Deutsch, ed. Walter Gersten-

    berg (Kassel: Brenreiter, 1963), 12-19.

    8Hans Joachim Moser, Heinrich Schtz: Sein Leben und Werk, 2nd rev. ed. (Kassel: Brenreiter,

    1954), 625.

    9Emanuel Winternitz, Rembrandt's 'Christ Presented to the People'- 1655: A Meditation

    on Justice and Collective Guilt, Oud-HollandQ4 (1969), 185.

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    REMBRANDT S PORTRAIT OF A MUSICIAN 1 35

    have ample opportunity to sit for a portrait by Rembrandt, but comparisons

    of the Corcoran portrait with authenticated representations of Huygens are

    most convincing.10 The identification of the musician as Huygens was made as

    early as 1942 by the art historian Edith Greindl,11 and has recently been given

    further credence in a superb study by Else Kai Sass, who discusses in careful

    detail all the literature and much of the evidence surrounding the Rembrandt

    portrait.12 Much of the information provided here is drawn from her article.

    Constantijn Huygens (1596-1687)- the famous Dutch diplomat, man of

    letters, amateur musician, and poet- was clearly in a position to have been

    painted by Rembrandt. He was in close contact with the master over a number

    of years, including 1633, and was Rembrandt's intermediary for many of the

    works that he executed for Prince Frederick Henry of Orange. Through Huy-

    gens' diaries and correspondence it is evident that he spent a substantial por-

    tion of 1633 in The Hague, where Rembrandt may also have been while paint-

    ing The Elevation of the Cross. Furthermore, Edith Greindl has pointed out that

    it was not so unusual for Huygens, a diplomat, to have been painted with a

    music scroll. He was very proud of his musical accomplishments, which in-

    cluded the composition of more than 800 melodies, the publication of his own

    collection of hymns, and the ability to play a number of different instruments.13

    These talents had already been highlighted in a portrait painted in 1627 by

    Thomas de Keyser, where Huygens was depicted with several instruments on

    the desk nearby.

    The final and most convincing evidence, however, rests in a comparison

    of the physical characteristics displayed in Rembrandt's portrait with those

    exhibited in the many known portraits of Huygens. Not only are the eyes of

    the same color, brown (whereas in the known portraits of Schtz, his eyes are

    blue-gray), but the lips, hair, and hat are all very similar. Moreover, the sitters

    in the Rembrandt portrait and the Paulus Pontius engraving of Huygens

    dated one year earlier both wear a ring on their little finger.

    One may conclude that this fine painting at the Corcoran Gallery was

    undoubtedly executed by Rembrandt; it does not depict Heinrich Schtz, but

    rather Constantijn Huygens. In this portrait Rembrandt appears to have me-

    morialized the musical accomplishments of the public official and amateur

    musician with whom he had dealt on so many occasions.

    10 Among the authenticated portraits of Huygens are included an engraving by Paulus Pon-

    tius after Van Dyck, which was executed in 1632; a grisaille by Jan Mauris Quinkhard, now in

    the Amsterdam Rijksmuseum; a painting by Jah Lievens, housed in the Rijksmuseum; and a

    painting by Thomas de Keyser from 1627 that is in the National Gallery in London.

    Edith Greindl, Un portrait de Constantin Huygens par Rembrandt, Apollo (March

    1942), 10-11.

    12Else Kai Sass, Constantijn Huygens- The Musician, in Comments on Rembrandt's Passion

    Paintings and Constantijn Huygens's Iconography, by Else Kai Sass, transi. Jean Nixon and David

    Hhnen (Copenhagen: Munksgaard, 1971), 39-61.

    l3Greindl, pp. 10-11.

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