Ben 0477 pic ex Bayonne Museum 636-01

Benesch 477
Rembrandt*
A Nude Man Kneeling, c.1640
F Bayonne, Musée Bonnat-Helleu

Ben 0477 Fig.a BM etching Beheading of Baptist F,5

Fig.a Rembrandt, The Beheading of St John the Baptist, 1640. Etching with drypoint, 129 x 103 (Bartsch 92; NH 183, 1st state)
GB London, British Museum (inv. 1848,0607.65.).

Ben 0477 Fig.b Detail of BM etching Beheading of Baptist F,5.18

Fig.b. Detail of Fig.a, reversed to show the image as it would have appeared on Rembrandt's copper plate.

Ben 0477 Fig.c Crabbe etching RPK RP-P-OB-2143

Fig.c. Frans Crabbe, The Beheading of St John the Baptist, c.1520? Engraving (Hollstein 26)
NL Amsterdam, Rijksmuseum (inv. RP-P-OB-2143)

Ben 0477 verso ex Bonnat Mus 636-02

Benesch 477 Verso

Ben 0478 pic ex Met site_ better

Benesch 478
Ferdinand Bol? Retouched by Rembrandt
The Beheading of Prisoners (The Anabaptist Martyrs?), c.1640
USA New York, The Metropolitan Museum of Art, Robert Lehman collection

Ben 0478 pic ex Met site_ better

Benesch 478, Enlarged

Ben 0478 Fig.a Details of 5 dgs

Fig.a. Details from Benesch 477 Benesch 482 verso Benesch 479 Benesch 478 Benesch 480

Ben 0478 Fig.b details of Ben 0479 ex BM site

Fig.b. Details (left to right) of Benesch 479 and Benesch 478

Ben 0478 Fig.c with detail Benesch 0482

Fig.c. Details of Benesch 482 recto (left) and Benesch 478; the latter may have been retouched by Rembrandt (the bolder lines in the legs and perhaps elsewhere)

Ben 0480 Fig comparison 477 etc

Fig.d. Details (left to right) from Benesch 0480, -- Benesch 0479 and -- Benesch 0478
Compare the child on the right of the detail of Benesch 0480 (loose execution with flat wash) to the executioner in Benesch 0478. The treatment and structure of the figures in Benesch 0480 on the left differ from these aspects in Benesch 0479 in the centre and the expressions in Benesch 0480 seem more vacant.

Benesch 0478 Fig.e Detail of executioner

Fig.e Detail of Benesch 478, enlarged, showing repeated attempts to define the line of the shoulder (and the left side), which is generally uncharacteristic of Rembrandt

Ben 0478 DETAIL Decapitated heads only

Fig.f. Detail of Benesch 478, Enlarged: these heads - especially that on the right - are of remarkable quality and resemble their counterpart in Benesch 0479 (see also Fig.b).

Ben 478 Fig.f  comparison Executioners

Fig.g. Details from Benesch 0482 verso Benesch 482 recto Benesch 479 Benesch 478 Benesch 480
Details of the executioners: as in Fig.a, the two drawings on the right (Benesch 478 and Benesch 480) appear to be pupils' works, though retouched in a more heavily laden pen by Rembrandt, his style of his work resembling Benesch 482 recto (part of which is shown here 2nd from left)

Ben 0478 Fig.h  Munich inv 1455 ex EHB online

Fig.h. School of Rembtrandt, A Beheading, c.1640? Pen and brown
ink. D Munich, Staatliche Graphische Sammlung

Ben 0478 Fig.i Turin drawing

Fig.i. School of Rembrandt, A Beheading, c.1650? Pen and brown ink with white bodycolour. I Turin, Biblioteca Reale

Ben 0479 pic ex BM site

Benesch 479
Rembrandt
Three Men being Beheaded, c.1640
GB London, British Museum

Ben 0479 pic ex BM site

Benesch 479, Enlarged

Ben 0480 Bol Benesch 0480 Beheading of Baptist Dg

Benesch 480
Ferdinand Bol (retouched by Rembrandt)
The Beheading of St John the Baptist, c.1640 (or later?)
Private Collection

Ben 0480 Bol DETAIL Benesch 0480 Beheading of Baptist Dg ex Gaines with Sbys Sep 2015 (2)

Benesch 480, Detail, Enlarged.
Rembrandt's corrections, in darker ink. are clearest in the executioner: in the outline of the back of the head and neck, around the waist, refining the line of the right buttock, and in the nearer thigh.
Further details are illustrated under Benesch 478, Figs.a, d and g.

Ben 0480 verso Bol to use

Benesch 480 Verso

Ben 0480a pic ex USA Worcester Museum site 1956.99

Benesch 480a
School of Rembrandt, corrected by Rembrandt,
The Beheading of St John the Baptist, c.1644-46
USA Worcester, Worcester Art Museum

Ben 0480a pic DETAIL ex USA Worcester Museum site 1956.99

Benesch 480a, Detail, Enlarged. Rembrandt was probably responsible for the lively sketching-in of the upper archway.

Ben 0481 ex Smith College site 1959_161

Benesch 481
Rembrandt
A Woman Kneeling and Bowing Low, c.1652
USA Northampton (Mass.), Smith College Museum of Art

Ben 0481 ex Smith College site 1959_161

Benesch 481, Enlarged

Ben 0481 Fig.a

Fig.a. Details from (left to right): Benesch 893 (by Drost), Benesch 481 -- and -- Benesch 885 (Rembrandt)

Drost's handling is more mechanical, with a more metallic end-result. Benesch 481 in the centre has the greater variety and subtlety of touch seen, for example, in Benesch 885 on the right.

Ben 0482 Recto TO USE ex Rijksmuseum site RP-T-1930-28R

Benesch 482 Recto
Rembrandt (*)
Christ Carried to the Tomb (over a sketch of an executioner) with a Weeping Woman, c.1640
NL Amsterdam, Rijksmuseum
Details are illustrated under Benesch 478, Figs. c and g.

Ben 0482 Verso To USE ex Rijksmuseum site RP-T-193

Benesch 482 Verso
Rembrandt (*)
An Executioner Beheading a Prisoner, c.1640
NL Amsterdam, Rijksmuseum

Benesch 482 Verso, Detail, Enlarged

Ben 0482 VERSO DETAIL pic ex Rijksmuseum site inv. RP-T-1930-28(V)
Ben 0482 Fig. a Rubens ex Christies

Fig.a. Studio of Peter Paul Rubens, Christ Carried to the Tomb, oil on panel, 405 x 545.
London art market (2007)

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