Self-Portrait as a Lute Player

c. 1637/1638

Jan Miense Molenaer

Painter, Dutch, c. 1610 - 1668

A man with pale, peachy skin sits holding and tuning a lute next to a heavily laden table in this vertical portrait painting. The man’s body faces us, and he looks at us with light brown eyes under slightly furrowed brows. His round face is tipped slightly to our right, toward the neck of his instrument, so he looks out from the corners of his eyes. He has a round face, a snub nose, and his pale pink lips are closed. His dark blond mustache curls up at the ends, and he has a faint goatee. Nestled on chin-length, curly, light brown hair, his gray hat has a wide, soft brim pushed up around the crown. Much of his torso is covered by the lute but he wears a wide, white collar under a billowing, fawn-brown cloak. A cloth on his shirt or pinned under the instrument has small black dots on a white background. His knickerboxers match his cloak, and are tied with a brick-red ribbons just below his knees, over white stockings. More red ribbons are tied to the front of his black leather shoes, which have low heels. One foot rests splayed on the bare, hardwood floor. His other foot is propped up on the rail of the chair to support the instrument. One hand is braced over the strings, and he tunes the pegs with the other. He sits next to a table covered with an aquamarine-blue cloth and overflowing with kitchen utensils, smoking instruments, and food. Closest to the man, a pipe rests in an earthenware bowl filled with burning embers, which sits on a terracotta-orange plate. Near that are a silver-colored, covered ewer, a short drinking glass, a covered box with its lid open, and, to our right, a pewter plate with a roll and a knife. A wooden instrument like a small violin sits at the back of the table. The scene is lit from our left. The back wall of the room deepens from clay brown near the light to coffee brown in the upper right corner.

Media Options

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Jan Miense Molenaer possessed the remarkable ability to create works that were as expressive as they were diverse. Taking inspiration from proverbs, poems, and the Bible, he painted merry companies, tavern groups, biblical scenes, and portraiture with brushwork that ranged from precise and refined to loose and free. Musical themes were a particular favorite of the artist and his wife, the painter Judith Leyster (1609–1660), whom he married in 1636.

Self-Portrait as a Lute Player, which Molenaer painted a few years after his marriage, is one of his most engaging works with a musical theme. Unlike his wife, who depicted herself painting, as seen in the Gallery’s wonderful Self-Portrait from around the same time, Molenaer painted himself quietly tuning his lute. The activity was symbolically linked in 17th-century literature to conducting one’s life in a balanced and harmonious manner. Because the dulcet tones of the instrument were difficult to maintain, tuning was a careful and time-intensive act, requiring a patient and steady hand. Molenaer’s forthright gaze and calm demeanor underscore these notions of stability and constancy; significantly, he pays no attention to the nearby array of sumptuous foods, drinking vessels, and smoking implements—items commonly associated with the transitory nature of sensual pleasures.

Self-Portrait as a Lute Player is not only an appealing image; it is also in excellent condition. Part of the painting’s charm, moreover, is the extraordinary naturalism Molenaer was able to convey through his deftly handled brush. He modeled fabrics and metals with carefully blended colors and dabbed quick highlights at curves and contours to give each texture form and substance. In one of the painting’s most stunning passages, he even used the blunt end of his paintbrush to scrape away paint to indicate the individual curls of hair.

On View

West Building Main Floor, Gallery 50-C


Artwork overview

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Artwork history & notes

Provenance

Private collection; (sale, Christie, Manson & Woods, London, 11 July 1980, no. 112); exported to Switzerland; (Galerie Sanct Lucas, Vienna), by 1981; private collection; (Galerie Sanct Lucas, Vienna); purchased 1996 by Philip and Lizanne Cunningham, Alexandria, Virginia; (Christie's, New York); purchased 2015 by NGA.

Associated Names

Exhibition History

1996

  • Gemälde Alter Meister, Galerie Sanct Lucas, Vienna, 1996, no. 13, repro.

2001

  • Loan to display with permanent collection, National Gallery of Art, Washington, 2001-2015.

2002

  • Jan Miense Molenaer: Painter of the Dutch Golden Age, North Carolina Museum of Art, Raleigh; Indianapolis Museum of Art; Currier Museum of Art, Manchester, New Hampshire, 2002-2003, no. 22, repro.

2009

  • Judith Leyster 1609-1660, National Gallery of Art, Washington; Frans Halsmuseum, Haarlem, 2009-2010, unnumbered NGA brochure, fig. 12 (shown only in Washington).

2021

  • Clouds, Ice, and Bounty: The Lee and Juliet Folger Fund Collection of Seventeenth-Century Dutch and Flemish Paintings, National Gallery of Art, Washington, 2021, no. 15, repro.

Bibliography

1993

  • Welu, James A., and Pieter Biesboer. Judith Leyster: A Dutch Master and Her World. Exh. cat. Frans Halsmuseum, Haarlem; Worcester Art Museum. Haarlem, 1993: 306-307, fig. 33e.

2013

  • Burgers, Jan W.J. The Lute in the Dutch Golden Age: Musical Culture in the Netherlands 1580-1670. Amsterdam, 2013: 12, pl. 5.

2015

  • Libby, Alexandra. "Jan Miense Molenaer, Self-Portrait as a Lute Player." National Gallery of Art Bulletin, no. 53 (Fall 2015): 38, repro.

Wikidata ID

Q46624704


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