(Dutch, 1606 - 1669)
H.43-3/8 x W.36-1/3 in. overall
oil on canvas
Inscriptions: SIGNATURE and DATE
to the Roman historian Livy, Lucretia, the wife of a Roman nobleman,
was known for her virtue and loyalty. Sextus Tarquinius, the son
of the ruling tyrant, raped her while her husband was away. The
next day Lucretia told her husband and father what had happened
and, in their presence, took her own life, choosing death over
dishonor. No artist before Rembrandt told the story quite like
this. He portrayed a poignant moment: Lucretia's profound sadness
after she stabbed herself. Using a close vantage point, Rembrandt
depicted the blood seeping from her wound, the tears filling her
painted this work late in his career, using a variety of techniques.
In places he applied the colors thickly with a palette knife;
elsewhere he painted more thinly with a brush, creating dramatic
contrasts of light and dark. The shadows on Lucretia's face, for
instance, accentuate her tragic expression. By expertly manipulating
paint and glazes, Rembrandt created the illusion of light emanating
from Lucretia's inner soul.
and His Circle, (1936), No. 8, illus.
Detroit (1930), No. 77, illus.
(1936), No. 10, illus.
Cleveland Museum of Art, The Twentieth Anniversary Exhibition,
Great Dutch Masters, (1942), No. 34, illus.
City Art Museum, Forty Masterpieces, (1947) p. 98, illus.
(1947), No. XXXI, illus.
Wildenstein & Co., (1950), No. 28, illus.
New York, Albright Art Gallery, Painters' Painters, (1954),
No. 9, illus.
The Minneapolis Institute of Arts, Fortieth Anniversary Exhibition
of Forty Masterpieces, (1955), No. 8
(1956), No. 98.
M. Knoedler & Co., Paintings and Sculpture from the Minneapolis
Institute of Arts, (1957), No. 4, illus.
The Art Institute of Chicago, Rembrandt After Three Hundred
Years, (1969); subsequently The Minneapolis Institute of Arts
(1969-1970), and The Detroit Institute of Arts (1970), No. 21,
illus. p. 107.
D.C., National Gallery of Art, Rembrandt's Lucretias, 22
Sept. 1991 - 5 Jan. 1992; Minneapolis, The Minneapolis Institute
of Arts, 18 Jan. - 3 May 1992.
The Minneapolis Institute of Arts, Minneapolis, Minnesota,
The William Hood Dunwoody Fund
Permission for educational use only granted by The Minneapolis
Institute of Arts
Radziwill Collection (according to Hofstede de Groot, VI, 1916,
Calvert Wombwell, London (Christie's), June 4, 1853, No. 8)
W. Bourdon, Newcastle on Tyne, London (Christie's) June 28, 1862,
No. 137. (bought in)
Carter, London and Villa Torrigiani, Quinto, Florence (after 1877)
& Co., New York (ca. 1926)
V. Jones, Minneapolis (ca. 1927)
Museum Director and CEO, Evan Maurer, leads visitors through a
personal tour of some of the most popular works in the collection.
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