Overview
After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden. Around 1632 he moved to Amsterdam, quickly establishing himself as the town’s leading artist. He received many commissions for portraits and attracted a number of students who came to learn his method of painting.
Only the Gospel of Luke, 2:15–22, mentions the circumcision of Christ: "the shepherds said one to another, Let us now go even unto Bethlehem.... And they came with haste, and found Mary and Joseph, and the babe lying in a manger.... And when eight days were accomplished for the circumcising of the child, his name was called Jesus." This cursory reference to this significant event in the early childhood of Christ allowed artists throughout history wide latitude in the way they represented the circumcision. The predominant Dutch pictorial tradition was to depict the ceremony as occurring in the Temple, but in this beautifully evocative painting Rembrandt places the scene in front of the stable. In this innovative composition, Mary, rather than Joseph or another male figure, tenderly holds her son in her lap in front of the ladder of the stable, just as she will cradle his corpse some thirty-three years later near a ladder leaning against the cross. In this way Rembrandt suggests the fundamental association between the circumcision and Christ's final shedding of blood at his Crucifixion. Onlookers crowd around the scribe who records the name of the Child in a large book.
Iconographic, compositional, and documentary evidence all point strongly to Rembrandt's authorship. The fact that a dealer, who knew Rembrandt's work well and who was in the midst of complex financial arrangements with him, paid a substantial amount of money for this painting makes it virtually certain that The Circumcision was executed by the master himself.
Entry
The only mention of the circumcision of Christ occurs in the Gospel of Luke, 2:15–22: “the shepherds said one to another, Let us now go even unto Bethlehem.... And they came with haste, and found Mary and Joseph, and the babe lying in a manger.... And when eight days were accomplished for the circumcising of the child, his name was called Jesus.” This cursory reference to this most significant event in the early childhood of Christ allowed artists throughout history a wide latitude in the way they represented the circumcision.
The predominant Dutch pictorial tradition was to depict the scene as though it occurred within the temple, as, for example, in
The iconographic tradition of the circumcision occurring in the temple, which was almost certainly apocryphal, developed in the twelfth century to allow for a typological comparison between the Jewish rite of circumcision and the Christian rite of cleansing, or baptism. Integral to this tradition was the assumption that shortly after the circumcision, Christ was presented in the temple. A close reading of Saint Luke, however, reveals that a period of time lapsed between the two events. After Luke describes the naming of Jesus at the rite of circumcision, he continues: “And when the [forty] days of [Mary’s] purification according to the law of Moses were accomplished, they brought him to Jerusalem, to present him to the Lord.” Rembrandt’s beautifully evocative painting, which places the scene before the stable, thus reflects far more accurately the circumstances of Christ’s circumcision than do representations of the event within the temple.
Rembrandt must have reassessed the iconography of the circumcision sometime between 1646 and 1654, the year in which he made his intimate etching The Circumcision in the Stable as part of a series of etchings of the life of the Christ child
In this painting of 1661 Rembrandt added a new component to his scene by having Mary, rather than Joseph or another male, hold the Christ child. In this way he suggests the fundamental association between the circumcision and Christ's final shedding of blood at his Crucifixion. Mary holds her son tenderly in her lap before the ladder of the stable, just as she will do some thirty-three years later near a ladder leaning against the cross. A canopy, placed over her head, reinforces the sacramental character of the scene and offers a further reminder of the significance of this, the first of Mary’s Seven Sorrows.
The circumcision is performed by a mohel, dressed in yellow ceremonial robes, who kneels before the Christ child in a gesture of serving and obeisance. The features of the priest are closely connected to those of Rembrandt’s Head of a Man in a Turban (Study for a Rabbi?) in the Alfred and Isabel Bader Collection, Milwaukee
The innovative and subtle interpretation Rembrandt has given to the scene has confused observers in the past. Hofstede de Groot, for example, believed that Rembrandt initially portrayed the Adoration of the Magi. He argued that during the course of execution Rembrandt changed one of the Magi into the priest performing the circumcision. He also suggested that Rembrandt changed the priest’s retinue into the observing crowd. Alternatively, he argued, the scribe might have originally been Zacharias and the scene initially the circumcision of John the Baptist.
Hofstede de Groot might have been mistaken in the types of changes he believed Rembrandt had made in this work, but X-radiographs [see
This document also raises the question as to whether the Nativity and The Circumcision Rembrandt sold to Van Ludick were pendants. One price is listed for both works. One could imagine that the quiet, reverential mood of the scene in The Circumcision might have been consciously conceived to complement a depiction of this thematically related episode from Christ’s life.
The broadly expressive, painterly character of this intimate scene has long been admired, but questions have been raised as to whether the work was actually executed by Rembrandt.
De Gelder, who is well known as the only Rembrandt pupil to continue in the master’s style into the early eighteenth century, was born in Dordrecht in 1645. Houbraken relates that after having been grounded in the fundamentals of art by
Judging this work on the basis of the manner of execution, however, is extremely difficult because of the painting’s poor state of preservation.
The conservation treatment of the early 1990s, while greatly improving the appearance of the painting, revealed that the paint had been severely flattened when too much heat and pressure were applied during an earlier lining.
Because of the poor condition of the painting, judgments of attribution cannot be based primarily on questions of technique. Nevertheless, in certain areas, particularly in the modeling of the priest's robes, the surety of Rembrandt’s touch is evident. Comparison of technique can also be made between the figures of witnesses to the event, particularly the young woman at the upper left, and the small-scale figures in Rembrandt’s Anna and Tobit, 1659
Arthur K. Wheelock Jr.
April 24, 2014
Inscription
lower right: Rembrandt. f. 1661
Provenance
Lodewijck van Ludick [1607-1669], Amsterdam, by 1662.[1] Probably Ferdinand Bol [1616-1680], by 1669.[2] Probably Isaak van den Blooken, The Netherlands, by 1707; (his sale, Jan Pietersz. Zomer, Amsterdam, 11 May 1707, no. 1). Duke of Ancaster; (his sale, March 1724, no.18); Andrew Hay; (his sale, Cock, London, 14-15 February 1745, no. 47);[3] John Spencer, 1st earl Spencer [1734-1783], Althorp, Northamptonshire; by inheritance through the earls Spencer to John Poyntz, 5th earl Spencer [1835-1910], Althorp;[4] (Arthur J. Sulley & Co., London); Peter A.B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania, by 1912; inheritance from Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, Pennsylvania; gift 1942 to NGA.
Exhibition History
- 1868
- National Exhibition of Works of Art, Leeds Art Gallery, England, 1868, no. 735.
- 1898
- Rembrandt: Schilderijen Bijeengebracht ter Gelegenheid van de Inhuldiging van Hare Majesteit Koningin Wilhelmina, Stedelijk Museum, Amsterdam, 1898, no. 115.
- 1899
- Exhibition of Works by Rembrandt. Winter Exhibition, Royal Academy of Arts, London, 1899, no. 5.
- 1969
- Rembrandt in the National Gallery of Art [Commemorating the Tercentenary of the Artist's Death], National Gallery of Art, Washington, D.C., 1969, no. 22, repro.
- 1986
- Rembrandt and the Bible, Sogo Museum of Art, Yokohoma; Fukuoka Art Museum; National Museum of Modern Art, Kyoto, 1986-1987, no. 11 (shown only in Fukuoka and Kyoto, 1987).
- 1998
- A Collector's Cabinet, National Gallery of Art, Washington, D.C., 1998, no. 46, repro.
- 2004
- Rembrandt, Albertina, Vienna, 2004, no. 134, repro.
- 2006
- Rembrandt - Quest of a Genius [Rembrandt - Zoektocht van een Genie] [Rembrandt - Genie auf der Suche], Museum Het Rembrandthuis, Amsterdam; Kulturforum, Berlin, 2006, fig. 209 in Amsterdam catalogue (not in Berlin catalogue).
- 2008
- Rembrandt: Pintor de Historias [Rembrandt: Painter of History], Museo Nacional del Prado, Madrid, 2008-2009, no. 39, repro.
- 2017
- Ferdinand Bol: het huis, de collectie, de kunstenaar [Ferdinand Bol: the house, the collection, the artist], Museum Van Loon, Amsterdam, 2017-2018, no. 22, repro.
- 2018
- Rembrandt: Painter as Printmaker, Denver Art Museum, 2018-2019.
Technical Summary
The original support, a medium-weight, loosely woven, plain-weave fabric, has been lined with the tacking margins unevenly trimmed. The absence of cusping and the presence of old, off-center stretcher-bar creases suggest the dimensions may have been substantially reduced. The double ground consists of a dark brown lower layer and a lighter brown upper layer. Both layers contain quartz.[1] The upper layer is translucent and has a rough texture to give it "tooth." A nearly pure black imprimatura or underpainting lies under the main figural groups and the left side of the design. The extreme solubility of this imprimatura may have contributed to the overall degree of damage.
The paint is applied in richly mixed and swirled layers, blended both wet-into-wet and wet-over-dry as glazes and scumbles. A number of cross-sections have been made to identify and locate the many complicated paint layers.[2] The X-radiographs show changes in the upper paint layers to enlarge the circumciser’s robe at the left, to expand the tent canopy horizontally, to alter the highlighting and positioning of the heads at the left, and to shade a once bright background area at the left.
The paint layers are quite damaged and areas of extensive repainting have been applied at various intervals. Old overpaint, which was not possible to remove during treatment of the painting in the early 1990s, is found over the circumciser’s robe, the tent canopy, the heads and adjacent background of figures in the middle distance at left, Mary’s headdress, and other areas of abrasion. The abraded portions include the shadows to the right of Mary and the Infant Jesus, much of the right side, the dark figures and shadows in the lower left, Mary’s and the circumciser’s draperies, and the heads of the figures at center left.
[1] The grounds were analyzed by Karin Groen using cross-sections and energy dispersive X-ray analysis (see Karin Groen, "Grounds in Rembrandt’s Workshop and in Paintings by His Contemporaries," in A Corpus of Rembrandt Paintings. IV, the Self-Portraits, ed. Ernst van de Wetering and Stichting Foundation Rembrandt Research Project [Dordrecht, 2005], 668–669).
[2] Pigment and medium analysis of paint and ground layers was performed by the Scientific Research department using cross-sections studied with scanning electron microscopy in conjunction with energy dispersive spectroscopy (see report dated December 3, 2008, in NGA Conservation files).
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- 1986
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