Ben 0427 pic Detail of figure ex smb-digital.de
Ben 0427 pic ex smb-digital.de
Ben 0427 pic Detail inscription only ex smb-digita

Benesch 427 Details, Enlarged

Benesch 427
Rembrandt*
Portrait of Saskia van Uylenburgh, 1633 (1634??)
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Ben 0428 ex Hamburg site

Benesch 428
Rembrandt
Seated Woman Holding a Letter, c.1631-32
D Hamburg, Kunsthalle

Ben 0428 Mierevelt 1628 COMPARATIVE

Fig. a Michiel van Miereveldt
Elizabteth Stuart (The Winter Queen), 1628
Sotheby's, London, 2015

Ben 0428 Van Dyck COMPARATIVE

Fig. c Anthonie van Dyck
Portrait of Queen Henrietta Maria, c.1632-35
GB London, National Portrait Gallery

Ben 0428 COMP C Janssens 1630 Portrait 1630

Fig. b Cornelis Janssens
Portrait of a Woman, 1630
GB Boughton House (The Duke of Buccleuch)

Ben 0082 ex wga.hu

Fig.d Benesch 82 (reduced)

Ben 0428 ex Hamburg site

Benesch 428 (reduced)

Fig.e.1-5 Mosaic of illustrations:
Fig.e.1 (from Benesch 428) showing both diagonal shading and more sharply pointed trailing lines
Fig.e.2 (from Benesch 82) showing similar diagonal shading (top box) and more sharply pointed trailing lines (lower box)
Figs.e.3 and 4 (from Benesch 46) showing comparable diagonal shading
Fig.e.5 (from Benesch 90) showing comparable diagonal shading

Ben 0021 Detail shading to left ex BM site

Fig.g Benesch 0021 Detail

Ben 0428 Detail shadin left and lower ex Hamburg site

Fig.f Benesch 428 Detail

Ben 0041 ex 1.bp..blogspot.com DETAIL for COMP Ben 0428

Fig.h.3 Benesch 41, Detail
(photograph in black and white)

Ben 0082 DETAIL drapery left ex wga.hu

Fig.h.2 Benesch 82, Detail

Ben 0428 Scratching Out Comp ill ex Hamburg site

Fig.h.1 Benesch 428, Detail

Figs h.1-3 show the comparable use of repeated dark strokes of chalk in the outlines, and the frequent use of dark lines that are drawn over and cut across the underlying shading

Ben 0428 DETAIL drapery lower left ex Hamburg site

Fig.i Benesch 428, Detail
Showing the soft style of shading

Not in Benesch Proof of Uytenbogaert 1635 DETAIL background upper right ex BM site

Fig.j Rembrandt, Detail of etched Portrait
of Johannes Uytenbogaert, 1635, touched
proof in black chalk (see further under the
Not in Benesch tab)

The soft style of shading is comparable to Benesch 428

Fig.k.1 Benesch 428, Detail

Figs k.1-3 Mosaic of details showing comparable dark accents in and near the sleeves
Similar accents are also found in Fig.g under the arm of Lot (Benesch 82)
(The contrasts are stronger in Benesch 0428 as the other two drawings are in red, rather than black chalk.)

Ben 0020 Detail L Black  ex Getty

Fig.n Benesch 20 Detail

Ben 0046 DETAIL COMP for Ben 0428 central dark area ex Louvre site

Fig.m Benesch 046
Detail

Ben 0428 Detail contours and shading

Fig.l Benesch 0428 Detail

Figs l-n show similar traces of creasing and/or scratching in the paper

Ben 0428 DETAIL BandW her right hand ex Hamburg site

Fig.o.1 Benesch 428, Detail

Ben 0021 DETAIL hands ex BM site

Fig.o.2 Benesch 21, Detail

Ben 0428 Detail dark accents by sleev etc. ex Hamb

Fig.o.3 Benesch 428, Detail

Figs o.1-3 Compare the firm outlines of the arm and hand in Fig.x with those in the nearer arm in Fig.y (including the little finger). Also, both forearms are subtly shaded before the wrist in an identical manner (the upper section of the exposed arm in Fig.x, the forearm in Fig.y).
The more sketchily drawn further hand in Fig.y seems compatible with that in Fig.z.

Ben 0429 Verso ex Louvre site

Benesch 429 Verso
Rembrandt
Three Studies of a Sleeve, c.1635-36
F Paris, Musée du Louvre

Ben 0430 COMP B.17 1633 ex BM

Fig.a
Rembrandt
Self-Portrait with a Cap and Scarf, 1633
Etching, Bartsch 17; NH 120, ii (illustrated in reverse)
GB London, British Museum (inv. F,4.18, formerly 1973,U.839)

Ben 0430 ex pubhist

Benesch 430
Rembrandt
Self-Portrait, c.1633
F Marseille, Musée des Beaux-Arts

Ben 0430 COMP Ben 0083a B&W DETAIL REVERSED of verso ex BM site

Fig.b
Benesch 83a
Detail, reversed to show the original direction of the draughtsmanship

Ben 0430 Detail shading ex pubhist

Benesch 430
Detail

Ben 0430 DETAIL Face ex pubhist

Benesch 430 Detail, Enlarged

Ben 0430 COMP B.17 1633 Detail eyes ex BM

Fig. d Detail of Fig.a, Enlarged

Ben 0431 COMP Fig. a Kassel Saskia ex Kassel.de

Fig.a
Rembrandt
Portrait of Saskia van Uylenburgh, begun c.1633, completed 1642
Oil on panel, 99.5 x 78.8 cm.
D Kassel, Gemäldegalerie

Ben 0431 pic ex Basel Museum

Benesch 431
Ferdinand Bol
A Woman Standing in a Flat Cap, c.1640-42
CH Basel, Kunstmuseum

Ben 0431 COMP b Antwerp version of Kassel Portrait

Fig. c Rembrandt and studio,
Portrait of Saskia Uylenburgh, c.1642 or later?
Oil on canvas, 112 x 89 cm
B Antwerp, Koninklijk Museum voor Schone Kunsten

Ben 0431 Fig.a Flinck attrib Vienna HdG 1431 Sumo 947x Flinck

Fig.c Attributed to Govert Flinck
Portrait of a Woman
Pen and brown ink with brown wash. 139 x 116
A Vienna, Albertina

Ben 0432 pic ex rembrandtpainting.net

Benesch 432
Rembrandt
Self-Portrait, c.1633-35
D Berlin, Staatliche Museen Berlin, Kupferstichkabinett

Ben 0432 pic DETAIL ex rembrandtpainting.net

Ben 0423 Detail

Ben 0432 Fig.a Ben 0054 pic DETAIL mouth ex Rijksmuseum

Fig.a
Benesch 54, Detail

Ben 0432 Fig.b Ben 0257 pic separate without inscription

Fig. b
Benesch 257

Ben 0432 Fig.c Not Benesch DETAIL TOP LEFT St Peter with Kevin Balacz final

Fig.c
Not In Benesch, Detail
of version of Benesch 124
(considerably darkened by damage)

Ben 0432 DETAIL hand pic ex rembrandtpainting.net

Benesch 432, Detail

Ben 0432 Fig.d Not in Benesch Harvard Girl Ben A010

Fig.d
Benesch A10, Detail
(see under 'Not in Benesch' tab)

Ben 0432 Fig.d COMP Louvre Self-Portrait

Fig.e
Rembrandt
Self-Portrait with a Gold Chain, 1633
Oil on panel, 61 x 48.1 cm
F Paris, Musée du Louvre

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