© President and Fellows of Harvard College
Gallery Text

This small study exemplifies Rembrandt’s ability to evoke, with a few strokes of the pen and brush, the essential topographical features and atmospheric impression of a landscape. The spare lines, interacting with the reserved areas of the lightly toned paper, create a convincing illusion of spatial recession in a vista that encompasses a fence along a road, a farmstead in the middle distance, and flat land stretching to a mill on the horizon. Rembrandt used both pen and brush, although primarily the brush, even in many of the finer lines. The drawing has been described as a winter scene, but this is not certain. The impression of snow-covered roofs and fields may be the result of the extensive reserve of unworked paper, by which means Rembrandt intended to capture summarily the appearance of a landscape in bright light. The few trees appear to be in full foliage.

Identification and Creation
Object Number
1932.368
People
Rembrandt Harmensz. van Rijn, Dutch (Leiden 1606 - 1669 Amsterdam)
Title
Landscape with a Farmstead ("Winter Landscape")
Other Titles
Alternate Title: Winter Landscape
Classification
Drawings
Work Type
drawing
Date
c. 1650
Culture
Dutch
Persistent Link
https://hvrd.art/o/303771
Physical Descriptions
Medium
Brown ink, pale brown wash, and incidental marks in black chalk on cream antique laid paper, prepared with light rose-brown wash, mounted overall, framing line in brown ink
Dimensions
6.7 x 16 cm (2 5/8 x 6 5/16 in.)
framed: 26.7 x 38.1 cm (10 1/2 x 15 in.)
Inscriptions and Marks
  • inscription: mount, verso, lower center, graphite: 225.
  • collector's mark: mount, verso, lower left, black ink stamp: L. 119 (Ambroise Firmin Didot)
  • collector's mark: mount, verso, lower left, black ink stamp: L. 2879 (Freiherr Max von Heyl zu Herrnsheim)
  • watermark: none
Provenance
Possibly General Antoine-Francois Andreossy (according to Firmin-Didot sale). Ambroise Firmin Didot, Paris (L. 119, mount, verso, lower left) sold; [Paris, Hôtel Drouot, 16 April – 21 May 1877, possibly lot 74, 75, or 78.] Freiherr Max von Heyl zu Herrnsheim, Darmstadt (L. 2879, mount, verso, lower left), sold; [Stuttgart, H. G. Gutekunst, 25-26 May 1903, lot 246, repr.], to [H. G. Gutekunst.] Charles A. Loeser, Florence; Bequest of Charles A. Loeser, 1932.368.

Published Text
Catalogue
Drawings from the Age of Bruegel, Rubens, and Rembrandt: Highlights from the Collection of the Harvard Art Museums
Authors
William W. Robinson and Susan Anderson
Publisher
Harvard Art Museums (Cambridge, MA, 2016)

Catalogue entry no. 70 by William W. Robinson:

“In its simplicity, it is one of Rembrandt’s most impressive sketches,” wrote Otto Benesch, the cataloguer of the artist’s drawings, and this small study indisputably ranks among the finest examples of his ability to evoke, with a few strokes of the pen and brush, the essential topographical features and atmospheric impression of a landscape.1 The spare lines, interacting with the reserved areas of the lightly toned paper, create a convincing illusion of spatial recession in a vista that encompasses a fence along a road, a farmstead in the middle distance, and flat, watery polder land stretching to a mill on the horizon. Rembrandt executed Landscape with a Farmstead using both pen and brush, although primarily the brush, even in many of the finer lines.2

Very few landscapes belong to the “core” drawings that can be attributed to Rembrandt with confidence.3 Consequently, although the attribution of the Harvard study to him has never been questioned, it is difficult to establish his authorship on grounds other than its sheer mastery and the similarity of its technique to that of other generally accepted studies of this type. Landscape with a Farmstead dates from about 1650, one of Rembrandt’s most productive periods as a landscape draftsman and printmaker. It shares with landscape prints and other drawings datable to the early 1650s the oblong format, diagonally receding space, and economical handling.4 Benesch compared it to a sketch at Chatsworth, which is similar in size and equally refined in handling (Fig. 1),5 and its delicate technique also recalls that of Landscape with the House with the Little Tower in the J. Paul Getty Museum (see 1979.210, Fig. 2).

By 1906, when Cornelis Hofstede de Groot published the sheet in the first comprehensive catalogue of Rembrandt’s drawings, it already bore the title A Winter Landscape.6 Most authors have concurred, describing the view as a winter scene with snow-covered roofs and fields.7 However, this is not certain. The impression of snow may be the result of the uncommonly extensive reserve of unworked paper, by which means Rembrandt intended to capture summarily the appearance of a landscape in bright light. The few trees appear to be in full foliage. In another drawing, which very likely depicts a winter scene, Rembrandt took care to leave the branches bare (Fig. 2),8 while in the Harvard sketch he uses the zigzag strokes that, in other landscapes, indicate a tree in leaf.

In his 1915 book on the sites depicted in Rembrandt’s landscapes, Frits Lugt suggested that the farmstead might have been located along the Amstel River, between the country house Kostverloren and the village of Ouderkerk.9 Rembrandt drew and etched several views in this area, including the so-called Six’s Bridge, the farmstead drawing reproduced in Figure 1, and perhaps A Farm on the Amsteldijk(?) (2004.181) .10 However, the absence of recognizable landmarks in the Harvard study precludes a definitive identification of the site. Like many farms in the low-lying country around Amsterdam, this one was probably near water: the gatelike structures to the left of the house and in the right foreground would support small drawbridges over ditches, and the taller pole behind the sagging fence rails in the right foreground might belong to a ubiquitous type of support used for hauling and drying fishing nets.11

Notes

1 Otto Benesch, The Drawings of Rembrandt (Oxford, 1954–57), vol. 4, cat. 845, p. 221.

2 My thanks to Penley Knipe and the late Craigen Bowen for discussing the media and technique with me. That the paper was toned with a rose-brown wash before Rembrandt drew on it is nearly certain, although not easily verified, even under magnification. Bowen noted that some of the fine lines—for example, in the farm buildings—that appear to have been drawn with a pen were probably applied with a small brush. In the fence in the right foreground, Rembrandt drew with a heavily charged brush over a preliminary sketch with the pen.

3 Peter Schatborn, “The Core Group of Rembrandt Drawings, I: Overview,” Master Drawings, vol. 49, no. 3 (Fall 2011): 293–322, pp. 315–19; Martin Royalton-Kisch and Peter Schatborn, “The Core Group of Rembrandt Drawings, II: The List,” in Master Drawings, vol. 49, no. 3 (Fall 2011): 323–46, pp. 323–51.

4 Compare the drawing Farm Buildings beside the Diemerdijk (Otto Benesch, The Drawings of Rembrandt, enlarged and edited by Eva Benesch, Oxford, 1973, vol. 6, cat. 1227) and the etching of the same site (Erik Hinterding and Jaco Rutgers in New Hollstein, Rembrandt, text part 2, no. 255, pp. 185–86 and plates part 3, pp. 20–22), as well as the etching Landscape with Trees, Farm Buildings, and a Tower (ibid., no. 256, p. 187), which depicts a similar view with a pronounced diagonal recession.

5 Rembrandt van Rijn, Landscape with a Farmstead (Fig. 1). Brown ink and brown wash on yellowish paper. 70 × 150 mm. Trustees of the Chatsworth Settlement, 1048. Benesch (1973), vol. 4, cat. 846, p. 216. George R. Goldner (European Drawings, Vol. 1: Catalogue of the Collections, The J. Paul Getty Museum, Los Angeles, 1988, under cat. 118, p. 265) compared the Harvard drawing to the Getty Landscape with the House with the Little Tower.

6 Cornelis Hofstede de Groot, Die Handzeichnungen Rembrandts (Haarlem, 1906), cat. 1142.

7 See, most recently, Seymour Slive, Rembrandt Drawings, Los Angeles, 2009, pp. 141–42. Those who evidently did not regard it as a winter scene include Frits Lugt, Wandelingen met Rembrandt in en om Amsterdam (Amsterdam, 1915), p. 116, who calls it Boerderij aan den Amstel (Farmstead on the Amstel), and Arthur Mayger Hind, Rembrandt Norton Lectures (Cambridge, 1932), p. 111, who entitles it Cottages by a River.

8 Rembrandt van Rijn, Winter View with a Waterway, Houses and Two Boats (Fig. 2). Brown ink, brown and (later) gray wash. 104 × 180 mm. Amsterdam, Rijksmuseum, RP‑T‑1930‑63. Peter Schatborn, Drawings by Rembrandt, His Anonymous Pupils and Followers, Catalogue of the Dutch and Flemish Drawings in the Rijksprentenkabinet, Rijksmuseum, Vol. 4 (The Hague, 1985) cat. 31, pp. 70–71.

9 Lugt, p. 116.

10 Boudewijn Bakker et al. in Boudewijn Bakker, Mària van Berge-Gerbaud, Jan Peeters, and Erik Schmitz, Landscapes of Rembrandt: His Favourite Walks (Amsterdam: Stadsarchief / Gemeentearchief Amsterdam; Paris: Fondation Custodia, 1998), pp. 281–302.

11 Frits Lugt identified the taller of the vertical objects at the far right as a pole used for pulling boats along the canal (note in the curatorial file dated March 1961, cited by Cynthia Schneider in Rembrandt’s Landcapes: Drawings and Prints, Washington, DC: National Gallery of Art, 1990, under cat. 77, p. 245). This type of pole, called a rolpaal, served to guide the towing rope as the barge went around a bend. These poles rotated on a screw mechanism with the friction from the rope. One is clearly illustrated in a drawing by Rembrandt in Oxford (Benesch, 1973, vol. 6, cat. 1355; Bakker et al., p. 276). However, Lugt’s identification is very doubtful: the pole would have to be strictly vertical to work in the screw mechanism and would not be obstructed by fence rails. The pole (or poles) in the drawing, which are only summarily sketched, are more likely the kind of pole, outfitted with a pulley and tackle, used to dry or haul fishing nets. The curved lines that extend down from the bar indicate the drying nets or perhaps the tackle used to hang them. Examples are depicted by Hendrick and Barend Avercamp (Annemarie Stefes, Niederländische Zeichnungen 1450–1850: Kupferstichkabinett der Hamburger Kunsthalle, Cologne, 2011, vol. 1, cats. 27 and 30, pp. 78–79; repr. vol. 2, pp. 12–13, pls. 27 and 30. Pieter Roelofs, ed., Hendrick Avercamp: Master of the Ice Scene, Amsterdam: Rijksmuseum, Amsterdam; Washington, DC: National Gallery of Art, 2009, p. 34, fig. 15, p. 80, fig. 102, and p. 117, fig. 144), Aert van der Neer (Wolfgang Schulz, Doornspijk, Netherlands, 2002, cat. 229, repr. pl. 8, and cat. 873, repr. pl. 78), and Ludolf Backhuijzen (Christopher White and Charlotte Crawley, The Dutch and Flemish drawings of the fifteenth to the early nineteenth centuries in the collection of Her Majesty the Queen at Windsor Castle, Cambridge, UK and New York, 1994, cat. 288, p. 180, repr.).

Figures
Acquisition and Rights
Credit Line
Harvard Art Museums/Fogg Museum, Bequest of Charles A. Loeser
Accession Year
1932
Object Number
1932.368
Division
European and American Art
Contact
am_europeanamerican@harvard.edu
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Publication History

Cornelis Hofstede de Groot, Die Handzeichnungen Rembrandts, E. F. Bohn (Haarlem, 1906), cat. no. 1142, p. 259

Frits Lugt, Wandelingen met Rembrandt in en om Amsterdam, P. N. van Kampen & Zoon (Amsterdam, 1915), p. 116, repr. fig. 71

Max Eisler, Rembrandt als Landschafter (Munich, Germany, 1918), pp. 64-65

Corrado Ricci, Rembrandt in Italia, Alfieri & Lacroix (Milan, Italy, 1918), p. 58, repr. p. 65

Frits Lugt, Mit Rembrandt in Amsterdam: Die Darstellungen Rembrandts vom Amsterdamer Stadtbilde und von der unmittelbaren Landschaftlichen Umgebung, exh. cat., Bruno Cassirer (Berlin, 1920), p. 113, repr. fig. 71

Frits Lugt, Les Marques de Collections de Dessins et d'Estampes. Marques estampillées et écrites de collections particulières et publiques. . . ., Vereenigde Drukkerijen (Amsterdam, 1921), p. 533

Hans Hell, "Die Spaten Handzeichnungen Rembrandts", Repertorium für Kunstwissenschaft (1930), vol. 51, pp. 4-43, p. 41

Arthur Mayger Hind, Rembrandt Norton Lectures (Cambridge, MA, 1932), p. 111, n. 1

Otto Benesch, Rembrandt Werk und Forschung, Gilhofer & Ranschburg (Vienna, 1935), p. 42

Fogg Art Museum Handbook, Fogg Art Museum (Cambridge, MA, 1936), p. 152, repr.

Agnes Mongan and Paul J. Sachs, Drawings in the Fogg Museum of Art, Harvard University Press (Cambridge, 1940), vol. 1, cat. no. 525, pp. 276-77, repr. vol. 2, fig. 272

M.D. Henkel, Tekeningen van Rembrandt en zijn school, Catalogus van de Nederlandse tekeningen in het Rijksmuseum te Amsterdam, Rijksmuseum Amsterdam (The Hague, Netherlands, 1943), under cat. no. 74, pp. 37-8

A Thousand Years of Landscape East and West (Paintings, Drawings, Prints), exh. cat., Museum of Fine Arts, Boston (Boston, 1945), p. 16

A Special Exhibition of Drawings from the Fogg Museum of Art, exh. cat., Speed Memorial Museum (Louisville, KY, 1947), cat. no. 19

Otto Benesch, Rembrandt, Selected Drawings (London and New York, 1947), vol. 1, cat. no. 180, p. 37, repr. vol. 2, fig. 180

Fiftieth Anniversary Exhibition of the Art of Europe during the XVIth - XVIIth Centuries, exh. cat., Worcester Art Museum (1948), cat. no. 51, p. 37, repr. p. 40, fig. 51

H. E. van Gelder, Rembrandt en het landschap, H. J. W. Becht (Amsterdam, 1948), p. 58, repr. p. 49

Felice Stampfle, Landscape Drawings & Water-colors, exh. cat., Pierpont Morgan Library (New York, 1953), cat. no. 67, pp. 9 and 26, repr. pl. IX

An Exhibition of Dutch and Flemish Drawings and Watercolors, checklist, Unpublished (1954), cat. no. 49, p. 12

Sherman E. Lee, Chinese Landscape Painting, exh. cat., Cleveland Museum of Art (Cleveland, OH, 1954), cat. no. 120, pp. 65 and 158, repr. p. 68, fig. 120

Otto Benesch, The Drawings of Rembrandt, Phaidon Press (Oxford, 1954 - 1957), vol. 4, cat. no. 845, p. 221, repr. fig. 993

Agnes Mongan, "The Fogg Art Museum's Collection of Drawings", Harvard Library Bulletin, Harvard University (Cambridge, 1958), vol. 3, no. 2, March, pp. 5-9, p. 201

Felice Stampfle and Egbert Haverkamp-Begemann, Rembrandt Drawings from American Collections, exh. cat., Pierpont Morgan Library (New York, NY, 1960), cat. no. 48, pp. 37-38, repr. pl. 42, fig. 48

Egbert Haverkamp-Begemann, "Rezension: Otto Benesch. The drawings of Rembrandt.", Kunstchronik (1961), vol. 14, no. 1, pp. 10-28; no. 2, pp. 50-57, no. 3, pp. 85-91, p. 57

Antoine Seilern, Paintings and Drawings of the Continental Schools other than Flemish and Italian at Princes Gate London, Shenval Press (London, England, 1961), under no. 200, p. 42

Eleanor C. Munro, The Golden Encyclopedia of Art, Golden Press, Inc. (New York, NY, 1961), p. 197, repr. fig. 3

Bates Lowry, The Visual Experience; An Introduction to Art, Prentice Hall and Harry N. Abrams, Inc. (New York, NY, 1961), p. 62, repr. fig. 32

Ernst W. Watson and Aldren A. Watson, Watson Drawing Book, Reinhold Publishing Co. (New York, NY, 1962), p. 97, repr. p. 96, fig. 148

[Reproduction only], "Wash Drawing", American Artist, (March 1963)., repr. p. 21

A Survey of the Collections, Fogg Art Museum (Cambridge, MA, 1964), n.p., repr.

Alice I. Davies, "Rembrandt's Landscape Drawings" (unpublished manuscript, Harvard University, April 1, 1965). Unpublished honors paper under the author's maiden name, Alice G. Ingraham., vol. 1, pp. 45-46 and 50, repr. vol. 2, fig. 39

Daniel M. Mendelowitz, Drawing, Holt, Rinehart & Winston (New York, NY, 1967), p. 121, repr. p. 115, fig. 5-13

Paintings, Drawings, and Sculpture from the Fogg Art Museum, Harvard University, exh. cat., Yale University Art Gallery (New Haven, 1967), n.p.

Eliza Mason Webster, "Die berühmten Graphiksammlungen der Welt (17): Graphik im Fogg Art Museum Cambridge, USA", Westermanns Montshefte, Georg Westermann Verlag (Braunschweig, Germany, December 1968), vol. 109, no. 12, pp. 74-79, p. 79, repr. p. 78, fig. 4

Ernst W. Watson, Art of Pencil Drawing, Watson-Guptill Publications (New York, NY, 1968), p. 132, repr. fig. 92

Pieter Jacobus Johannes van Thiel, Rembrandt 1669/1969, exh. cat. (1969), cat. no. 80, p. 181, repr.

Dr. Vitale Bloch, Rembrandt Today; Two Lectures, by Vitale Bloch. Published on the Occasion of his Seventieth Birthday, Van Gendt and Co. (Amsterdam, The Netherlands, 1970), pp. 68 and 70, repr. p. 69

Graham Collier, Form, Space, and Vision: Understanding Art - A discourse on drawing, Prentice-Hall, Inc. (Englewood Cliffs, NJ, 1972), pp. 27-31, repr. p. 27, fig. 2-2

Henri Dorra, Art in Perspective, Harcourt Brace Jovanovich (New York, 1973), pp. 300-302, repr. p. 301, fig. 21-7

Ursula Kaiser, Das Grosse Ravensburger Buch für Hobby Maler, Otto Mayer Verlag Ravensburg (Berlin, 1973), p. 275

Otto Benesch, The Drawings of Rembrandt [enlarged ed.], Phaidon Press (Oxford, 1973), vol. 4, cat. no. 845, p. 216, repr. fig. 1047

Emma Lila Fundaburk and Thomas G. Davenport, Art at Educational Institutions in the United States, Scarecrow Press (Metuchen, NJ, 1974), p. 70, repr. pl. 16

Daniel M. Mendelowitz, A Guide to Drawing, Holt, Rinehart & Winston (New York, NY, 1976), p. 248

Gianni Carlo Sciolla, ed., Rembrandt Disegni, La Nuova Italia Editrice (Florence, Italy, 1976), no. 41, repr. pl. 41

Bob Haak, Rembrandt Drawings, Woodstock (New York, NY, 1976), cat. no. 55, repr.

Seymour Simmons, III and Mark S. A. Winer, Drawing: the Creative Process, Prentice-Hall, Inc. (Englewood Cliffs, NJ, 1977), pp. 4-5, repr. fig. 0.2

Nathan Goldstein, The Art of Responsive Drawing [2nd ed.], Prentice-Hall Press (Englewood Cliffs, NJ, 1977), repr. fig. 12.16

Konrad Oberhuber, "Charles Loeser as a Collector of Drawings", Apollo (June 1978), vol. CVII, no. 196, pp. 464-469, pp. 467-468

Seymour Slive, "Rembrandt at Harvard", Apollo (June 1978), vol. 107, no. 196, pp. 452-463, p. 454 and 457, repr. p. 456, fig. 6

Anthony Bailey, Rembrandt's House, Houghton Mifflin Company (Boston, MA, 1978), repr. p. 226

Betty Edwards, Drawing on the Right Side of the Brain: A Course in Enhancing Creativity and Artistic Confidence, J P Tarcher (Los Angeles, 1979), p. 23, repr.

Konrad Oberhuber, ed., Old Master Drawings: Selections from the Charles A. Loeser Bequest, Fogg Art Museum (Cambridge, MA, 1979), cat. no. 47, pp. 106-107, repr.

Daisaku Ikeda and René Huyghe, La nuit appelle l'aurore; dialogue Orient-Occident sur la crise contemporaine, Flammarion (Paris, France, 1980), repr. pl. 22

The Draughtsman at Work. Drawing in the Golden Century of Dutch Art, checklist (unpublished, 1980), no. 7

Bernard Chaet, The Art of Drawing, Holt, Rinehart & Winston (New York, NY, 1983), p. 263, repr. p. 262, pl. 350

Nathan Goldstein, The Art of Responsive Drawing, Prentice-Hall Press (Englewood Cliffs, 1984), p. 358, repr. p. 360, fig. 12.21

Peter Schatborn, Drawings by Rembrandt, His Anonymous Pupils and Followers, Rijksmuseum Amsterdam (Amsterdam, The Netherlands, 1985), under cat. no. 31, pp. 70-71 (n. 4)

Peter C. Sutton, A Guide to Dutch Art in America, Netherlands-American Amity Trust and Eerdmans (Washington, D.C. and Grand Rapids, MI, 1986), pp. 39-40, repr. fig. 51

Kristin A. Mortimer and William G. Klingelhofer, Harvard University Art Museums: A Guide to the Collections, Harvard University Art Museums and Abbeville Press (Cambridge and New York, 1986), cat. no. 271, p. 232, repr.

Jacqueline Guillaud and Maurice Guillaud, Rembrandt: la Figuration Humaine (Paris, France and New York, NY, 1986), repr. p. 87, fig. 91

Director's Report / Harvard University Art Museums (Cambridge, MA, 1987 - 1988), repr. p. 32

George R. Goldner, European Drawings, vol. 1: Catalogue of the Collections: The J. Paul Getty Museum, Malibu, California (Malibu, 1988), under cat. no. 118, p. 265

Frederik J. Duparc, Landscape in Perspective: Drawings by Rembrandt and his Contemporaries, exh. cat., The Montreal Museum of Fine Arts (Montreal, 1988), cat. no. 69, p. 177, repr.

Marc Le Bot, Rembrandt, Crown Publishers Inc. (New York, NY, 1990), repr. p. 9

Cynthia Schneider, Rembrandt's Landcapes: Drawings and Prints, exh. cat. (1990), cat. no. 77, pp. 245-46, repr.

[Reproduction only], The Stations of Solitude, William Morrow & Company (New York, 1990)., repr. cover

Martin Royalton-Kisch, "Rembrandt's Landscape Drawings", Drawing: Masters and Methods, Raphael to Redon, Philip Wilson Publishers / Royal Academy of Arts (London, 1992), pp. 114-135, p. 122, repr. p. 124, fig. 21

Martin Royalton-Kisch, Drawings by Rembrandt and his circle in the British Museum, British Museum Press (London, 1992), under cat. no. 76, p. 163

Nathan Goldstein, The Art of Responsive Drawing, Prentice-Hall Press (Englewood Cliffs, 1992), fig. 13.24

David Blayney Brown, "Watercolor", The Dictionary of Art, ed. Jane Turner, Grove's Dictionaries (New York, 1996), vol. 32, pp. 898-902, repr. p. 900, fig. 1

James Cuno, Alvin L. Clark, Jr., Ivan Gaskell, and William W. Robinson, Harvard's Art Museums: 100 Years of Collecting, ed. James Cuno, Harvard University Art Museums and Harry N. Abrams, Inc. (Cambridge, MA, 1996), pp. 216-17, repr.

[sale catalogue], auct. cat., Sotheby's, New York (New York, NY, January 29, 1997), under lot 49

Franklin W. Robinson and Sheldon Peck, Fresh Woods and Pastures New: Seventeenth-Century Dutch Landscape..., William Hayes Ackland Memorial Art Museum (Chapel Hill, NC, 1999), under cat. no. 10, p. 54

Simon Schama, Rembrandt's Eyes, Alfred A. Knopf, Inc. (New York, 1999), pp. 537-38, repr. p. 538

Carlo Francini, "L'inventario della collezione Loeser alla Villa Gattaia", Bollettino della Società di Studi Fiorentini (2000), no. 6, p. 122 ("Cartella C.L."), no. 12

Seymour Slive, "Collecting 17th-century Dutch art in the United States: the current boom", Bulletin van het Rijksmuseum (2001), vol. 49, no. 1, pp. 84-99, pp. 86, 97 (n. 10)

Howard J. Smagula, Creative Drawing, Laurence King Publishing Ltd. (London, 2002), pp. 151-152, repr. p. 152, fig. 7.2

David Rosand, Drawing Acts: Studies in Graphic Expression and Representation, Cambridge University Press (Cambridge, 2002), pp. 256-57, repr. p. 257

David Summers, Real Spaces: World Art History and the Rise of Western Modernism, Phaidon Press (London and New York, 2003), pp. 51 and 577, repr. p. 50, fig. 6

Clifford S. Ackley and Ronni Baer, Rembrandt's Journey: Painter, Draftsman, Etcher, exh. cat., MFA Publications (Boston, 2003), cat. no. 128, pp. 197 and 323, repr. p. 197, fig. 128

Thomas Ketelsen and Christian Dittrich, Rembrandt Die Dresdener Zeichnungen, ed. Thomas Ketelsen, Verlag der Buchhandlung Walther König (Cologne, Germany, 2004), under cat. no. 110, p. 195, repr. fig. 1, and p. 214 (n. 4)

Susan Lumenello, "Picturing an Exhibition: On the Making of 'Rembrandt'", Colloquy [Harvard Alumni Quarterly] (Fall 2006), pp. 2-3, 11, p. 11

David Summers, "World Art History and the Rise of Western Modernism, or, Goodbye to the Visual Arts", from the symposium Compression vs. Expression: Containing and Explaining the World's Art, ed. John Onians, Sterling and Francine Clark Art Institute (Williamstown, MA, 2006), pp. 215-234, p. 222, repr. fig. 1

Michael White, re-entry, University of North Texas Press (Denton, Texas, 2006), repr. cover

Ivan Gaskell, Rembrandt and the Aesthetics of Technique, brochure, Harvard University Art Museums (Cambridge, MA, 2006), checklist

Christian Dittrich and Thomas Ketelsen, Rembrandt: Les dessins de Dresde, exh. cat., Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden and Fondation Custodia (Paris, 2006), under cat. no. 73, pp. 141 and 159 (n. 4), repr. p. 141, fig. 1

John Torreano, Drawing by Seeing, Harry N. Abrams, Inc. (New York, NY, 2007), p. 19, repr.

Seymour Slive, Rembrandt Drawings, J. Paul Getty Museum (Los Angeles, 2009), pp. 141-42, repr. fig. 11.17

Catalogue of Drawings by Rembrandt and his School in the British Museum, website, British Museum, 2010, under cat. no. 80 and under cat. no. 83

William W. Robinson and Susan Anderson, Drawings from the Age of Bruegel, Rubens, and Rembrandt: Highlights from the Collection of the Harvard Art Museums, Harvard Art Museums (Cambridge, MA, 2016), p. 14; cat. no. 70, pp. 237-239, repr. p. 238

Peter Schatborn and Erik Hinterding, Rembrandt: The Complete Drawings and Etchings, Taschen (Cologne, 2019), cat. no. D569, p. 364, repr.

Exhibition History

A Thousand Years of Landscape East and West, Museum of Fine Arts, Boston, Boston, 10/24/1945 - 12/09/1945

A Special Exhibition of Drawings from the Fogg Museum of Art, Speed Memorial Museum, Louisville, KY, 03/02/1947 - 03/30/1947

Fiftieth Anniversary Exhibition of the Art of Europe during the XVIth-XVIIth Centuries, Worcester Art Museum, Worcester, 01/01/1948 - 12/31/1948

Landscape Drawings and Watercolors, Pierpont Morgan Library, New York, 01/01/1953 - 12/31/1953

Chinese Landscape Painting, Cleveland Museum of Art, Cleveland, 01/01/1954 - 12/31/1954

An Exhibition of Dutch and Flemish Drawings and Watercolors, Fogg Art Museum, Cambridge, 04/01/1954 - 04/30/1954

Rembrandt Drawings from American Collections, Pierpont Morgan Library, New York, 03/15/1960 - 04/16/1960; Fogg Art Museum, Cambridge, 04/27/1960 - 05/29/1960

Paintings, Drawings, Sculpture from the Fogg Art Museum, Harvard University, Yale University Art Gallery, New Haven, 10/12/1967 - 12/03/1967

Rembrandt 1669/1969, Rijksprentenkabinet, Rijksmuseum, Amsterdam, 09/13/1969 - 11/30/1969

The Draughtsman at Work. Drawing in the Golden Century of Dutch Art, Fogg Art Museum, Cambridge, 11/21/1980 - 01/04/1981

Rembrandt: A Selection of his Works, Busch-Reisinger Museum, Cambridge, 10/18/1984 - 12/11/1984

Landscape in Perspective: Drawings by Rembrandt and his Contemporaries, Harvard University Art Museums, Cambridge, 02/20/1988 - 04/03/1988; The Montreal Museum of Fine Arts, Montreal, 04/15/1988 - 05/29/1988

Rembrandt's Landscapes: Drawings and Prints, National Gallery of Art, Washington, 03/11/1990 - 05/20/1990

Rembrandt's Journey: Painting, Draftsman, Etcher, Museum of Fine Arts, Boston, Boston, 10/26/2003 - 01/18/2004; The Art Institute of Chicago, Chicago, 02/14/2004 - 05/09/2004

Rembrandt and the Aesthetics of Technique, Harvard University Art Museums, Busch-Reisinger Museum, 09/09/2006 - 12/10/2006

Drawings from the Age of Bruegel, Rubens, and Rembrandt, Harvard Art Museums, Cambridge, 05/21/2016 - 08/14/2016

Subjects and Contexts

Dutch, Flemish, & Netherlandish Drawings

This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced. For more information please contact the Division of European and American Art at am_europeanamerican@harvard.edu