The Mill

1645/1648

Rembrandt van Rijn

Artist, Dutch, 1606 - 1669

A windmill stands on a promontory cutting into a waterway under a partially stormy sky in this square landcape painting. The promontory and mill are painted in muted tones of brown and rust orange, while steel-gray and white clouds encircle a topaz-blue sky above. The promontory juts into the scene from our left, and the front of the windmill is angled to our right so its golden-tan sails catch the light. Silvery water winds around the base of the promontory and extends to a dark green, shadowy bank on the far side. A boat in the lower right corner of the composition is rowed by a man wearing a red jacket and cap. A path runs to the water’s edge from the left edge of the painting, in front of the promontory’s retaining wall, which is shored up with stones or panels. A person in dark clothing close to the windmill seems to rest their arms on the retaining wall, their back to us. Closer to us, a woman holds a child’s hand as they walk down the path to the bank. A bearded man with tattered brown clothes and bare feet stands leaning against the wall near a woman wearing burnt-orange garment. She sits or kneels at the water’s edge in front of a basket of clothes and holds up a brown cloth. The olive-green forms of the trees on the far bank are reflected in the water, and closer inspection reveals two cows near the water there. Charcoal-gray clouds pile up along the left of the painting and span the top edge. There is a brilliant blue sky beyond and a screen of white clouds near the horizon, which comes about a third of the way up the canvas.

Media Options

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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, specializing in history paintings and portraiture. He received many commissions and attracted a number of students who came to learn his method of painting.

Nineteenth-century connoisseurs considered Rembrandt’s painting of The Mill to be one of the master’s greatest creations. They celebrated the dramatic silhouette of the post-mill against a dark, stormy sky, unaware that the romantic aura and rich golden tone of the scene were caused by darkened and discolored varnish. They attributed the heavy atmosphere to Rembrandt’s frame of mind in the period of the mid-1650s, when he encountered severe financial difficulties. The restoration of the painting in 1977–1979 removed the old varnish, thereby changing the painting’s symbolic character. Under the blue and steel-gray sky, the bright sails on the vanes draw the viewer’s eyes to the mill, which is perched on a bulwark to take advantage of the additional height. Although it is possible that Rembrandt based this scene on his father’s mill on the ramparts of Leiden, he imaginatively conceived the scene to symbolically portray the mill as a guardian, protecting the land and its people.

On View

West Building Main Floor, Gallery 48

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Artwork overview

  • Medium

    oil on canvas

  • Credit Line

    Widener Collection

  • Dimensions

    overall: 87.6 x 105.6 cm (34 1/2 x 41 9/16 in.)
    framed: 125.1 × 142.24 cm (49 1/4 × 56 in.)

  • Accession

    1942.9.62

More About this Artwork

Video:  Guided Meditation: Calm in Rembrandt’s “The Mill”

This short guided meditation offers breathing techniques to tap into the strength and stability of Rembrandt’s The Mill.

Video:  Dive into the Fascinating Story of Rembrandt's Painting "The Mill"

Rembrandt's The Mill embodies a story of restoration and rediscovery that spans centuries and geographies. Hear more from curator Arthur K. Wheelock Jr. about this painting's special place in our collection.

Scholarly Article:  Dutch Paintings of the Seventeenth Century: The Mill, 1645/1648

This horizontal painting shows a group of eight light-skinned musicians and onlookers gathered closely around a rectangular, carpet-covered table. The front edge of the table runs parallel to the bottom edge of the painting, and seems close to us. Shown from about the waist up, the men and women’s vivid lapis-blue, coral-red, buttercup-yellow, lilac-purple, and moss-green garments fall in crisp folds. Bright reflections on the fabric suggest a satin-like material. Two women wear feathers in their hair and one man’s hat is plumed. One man, wearing crimson red and black, sits with his back to us to our left on the near side of the table. He holds the neck of a bass viol, about the size of a cello, with his left hand, and points to pages of an open music book with the bow in his right hand. The other people cluster on the far side of the table. A man to the left plays a violin; a woman at the center plays a guitar-sized bandora, and a woman to our right plays a lute. The musicians, along with a man who leans over the table from between the two women, look down at the music books. A young man behind the woman at the center holds up a glass of pale liquid with his right hand as he touches his left forefinger to his smiling lips. A man and woman stand close together in the background to our right, in the top right corner of the canvas.

Scholarly Series:  Dutch Paintings of the Seventeenth Century

Artwork history & notes

Provenance

Philippe II, duc d'Orléans [1674-1723], Paris; by inheritance to his son, Louis, duc d'Orléans [1703-1752], Paris; by inheritance to his son, Louis Philippe, duc d'Orléans [1725-1785], Paris; by inheritance to his son, Louis Philippe Joseph, duc d'Orléans [1747-1793], Paris; acquired 1792 with the Dutch, German, and Flemish paintings of the Orléans collection by Thomas Moore Slade, London, for an English syndicate;[1] (exhibition and sale [by private contract], The Great Rooms, Pall Mall, London, April-June 1793, no. 91); William Smith, M.P. [1756-1835], until at least 1815;[2] Henry Petty-Fitzmaurice, 3rd marquess of Lansdowne [1780-1863], Bowood House, Wiltshire, by 1824;[3] by inheritance to his son, Henry Petty-Fitzmaurice, 4th marquess of Lansdowne [1816-1866], Bowood House; by inheritance to his son, Henry Charles Keith Petty-Fitzmaurice, 5th marquess of Lansdowne [1845-1927], Bowood House; sold April 1911 through (Arthur J. Sulley & Co., London) to Peter A.B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania; 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.
[1] For the story of the dispersal of the Orléans collection in the 1790s, see William Buchanan, Memoirs of Painting, 2 vols., London, 1824: 1:9-216, and Denys Sutton, "Aspects of British Collecting, Part III: XIII The Orléans Collection," Apollo 119 (May 1984): 357-372.
[2] Smith lent the painting to an exhibition at the British Institution in 1815.
[3] Buchanan 1824, 1:195, 196.

Associated Names

Exhibition History

1793

  • The Orleans Gallery, The Great Rooms, Pall Mall, London, 1793, no. 91, as Landscape with a mill (twilight).

1806

  • British Institution for Promoting the Fine Arts in the United Kingdom, London, 1806, no catalogue (special exhibition of paintings displayed for copyists).

1815

  • British Institution for Promoting the Fine Arts in the United Kingdom, London, 1815, no. 37.

1864

  • British Institution for Promoting the Fine Arts in the United Kingdom, London, 1864, no. 112.

1878

  • Exhibition of Works by the Old Masters and by Deceased Masters of the British School. Winter Exhibition, Royal Academy of Arts, London, 1878, no. 172.

1888

  • Exhibition of Works by the Old Masters and by Deceased Masters of the British School. Winter Exhibition, Royal Academy of Arts, London, 1888, no. 74.

1899

  • Exhibition of Works by Rembrandt. Winter Exhibition, Royal Academy of Arts, London, 1899, no. 40.

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. 6, repro.

2006

  • Rembrandts Landschaften [Rembrandt's Landscapes], Schloss Wilhelmshöhe, Staatliche Museen Kassel; Stedelijk Museum De Lakenhal, Leiden, 2006-2007, no. 5, repro.

2009

  • Turner and the Masters, Tate, London; Galeries nationales du Grand Palais, Paris; Museo Nacional del Prado, Madrid, 2009- 2010, no 58 (London and Madrid), no. 70 (Paris), repro.

2018

  • Rembrandt: Britain's Discovery of the Master, Scottish National Gallery, Edinburgh, 2018, no. 8, fig. 91.

  • The Orléans Collection, New Orleans Museum of Art, New Orleans, 2018-2019, no. 28, repro.

Bibliography

1723

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1727

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1808

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1824

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1829

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1834

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1837

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1838

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1844

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1845

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1852

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1854

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1859

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1860

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1864

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1883

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1885

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1886

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1887

  • Champlin, John Denison, Jr., and Charles C. Perkins, eds. Cyclopedia of painters and paintings. 4 vols. New York, 1887: 4:24.

1893

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1894

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1895

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1897

  • Bode, Wilhelm von, and Cornelis Hofstede de Groot. The Complete Work of Rembrandt. 8 vols. Translated by Florence Simmonds. Paris, 1897-1906: 5:14, 100, no. 345, pl. 345.

1898

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1899

  • Hofstede de Groot, Cornelis. Rembrandt: 26 Photogravures naar de beste schilderijen der tentoonstellingen te London en Amsterdam. Amsterdam, 1899: no. 16, repro.

  • Royal Academy of Arts. Exhibition of works by Rembrandt. Exh. cat. Royal Academy of Arts, London, 1899: 18, no. 40.

  • Cook, Herbert F. "Correspondance d’Angleterre: l’Exposition Rembrandt à Londres." Gazette des Beaux-Arts 21 (1899): 251-253, repro.

  • Bell, Malcolm. Rembrandt van Rijn and His Work. London, 1899: 80, 139.

1902

  • Armstrong, Sir Walter. Turner. London, 1902: 56.

  • Holmes, Charles John. Constable and His Influence on Landscape Painting. Westminster, 1902: 7, 38, 54, 155-156.

  • Neumann, Carl. Rembrandt. Berlin, 1902: 228-229, repro.

1903

  • Bode, Wilhelm von. "Der Maler Hercules Seghers." _Jahrbuch der Königlich Preussischen Kunstsammlungen _ 24 (1903): 186,194.

1904

  • Rosenberg, Adolf. Rembrandt: des Meisters Gemälde. Klassiker der Kunst in Gesamtausgaben 2. Stuttgart, 1904: xxviii, 172, repro.

1906

  • (Editorial). "Lesson of the Rokeby Velasquez." The Burlington Magazine 8 (January 1906): 226.

  • Michel, Émile. Rembrandt Harmensz. van Rijn: A Memorial of His Tercentenary. New York, 1906: 85, repro.

  • Rosenberg, Adolf. Rembrandt, des Meisters Gemälde. Klassiker der Kunst in Gesamtausgaben 2. 2nd ed. Stuttgart, 1906: xxix, repro. 258.

1907

  • Brown, Gerard Baldwin. Rembrandt: A Study of His Life and Work. London, 1907: 47-48, 122-123, 216-217, 251-252, 262.

  • Hofstede de Groot, Cornelis. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. 8 vols. Translated by Edward G. Hawke. London, 1907-1927: 6(1916):434-435, no. 952.

  • Bell, Malcolm. Rembrandt van Rijn. The great masters in painting and sculpture. London, 1907: 76, 124.

  • Rosenberg, Adolf. The Work of Rembrandt, reproduced in over five hundred illustrations. Classics in Art 2. New York, 1907: 19, 258.

  • Hofstede de Groot, Cornelis. Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts. 10 vols. Esslingen and Paris, 1907-1928: 6(1915):396.

1908

  • Holmes, Charles John. "Two Landscape Drawings by Rembrandt." The Burlington Magazine 12 (March 1908): 349-350.

  • Rosenberg, Adolf. Rembrandt, des Meisters Gemälde. Klassiker der Kunst in Gesamtausgaben 2. 3rd ed. Stuttgart and Berlin, 1908: xxxi, repro. 313.

1909

  • Editorial. "A Purchase Fund for Works of Art." The Burlington Magazine 15 (1909): 202.

  • Bode, Wilhelm von. Great Masters of Dutch and Flemish Painting. Translated by Margaret L. Clarke. London, 1909: 128, 137-138, repro. facing 10.

  • Phillips, Claude. "A Nymph of Diana Reposing." The Burlington Magazine 15 (1909): 308.

  • Rosenberg, Adolf. Rembrandt: Des Meisters Gemälde. Edited by Wilhelm R. Valentiner. Klassiker der Kunst in Gesamtausgaben 2. Stuttgart and Leipzig, 1909: repro. 313.

1910

  • Michel, Émile. Great Masters of Landscape Painting. London, 1910: 229-230, 280, pl. 19.

1911

  • Editorial. "Rembrandt's Mill." The Burlington Magazine 19 (April 1911): 3-4.

  • Editorial. "The Passing of Rembrandt's Mill." The Burlington Magazine 19 (May 1911): 66.

  • Fry, Roger Eliot, and Maurice Walter Brockwell. A catalogue of an exhibition of old masters in aid of the National Art-Collections Fund. Exh. cat. Grafton Galleries, London, 1911: xii, 63, 64, no. 67.

  • Brockwell, Maurice Walter. The 'Adoration of the Magi' by Jan Mabuse..... London, 1911: ix, unpaginated, pl. XI.

  • Fry, Roger. "Art: The Extension of the National Gallery." The Nation (8 March 1911): 1000–1001.

  • Holmes, Charles John. Notes on the Art of Rembrandt. London, 1911: 118, 135-136, 139.

  • Seidlitz, Woldemar von. "Rembrandts Mühle." Kunst und Künstler 9 (10 July 1911): 550–552, repro.

  • Bode, Wilhelm von. Great Masters of Dutch and Flemish painting. Translated by Margaret L. Clarke. New York, 1911: 128, 137-138, repro. facing 10.

1912

  • Bode, Wilhelm von, et al. "Rembrandts Mühle." Kunst und Künstler 10 (October 1912): 21-27.

1913

  • Hofstede de Groot, Cornelis, and Wilhelm R. Valentiner. Pictures in the collection of P. A. B. Widener at Lynnewood Hall, Elkins Park, Pennsylvania: Early German, Dutch & Flemish Schools. Philadelphia, 1913: unpaginated, no. 35, repro.

  • Rosenberg, Adolf. The Work of Rembrandt, reproduced in over five hundred illustrations. Classics in Art 2. Edited by Wilhelm R. Valentiner. 2nd ed. New York, 1913: 18, repro. 313.

1914

  • Valentiner, Wilhelm R. The Art of the Low Countries. Translated by Mrs. Schuyler Van Rensselaer. Garden City, NY, 1914: 247, no. 55.

1918

  • Eisler, Max. Rembrandt als Landschafter. Munich, 1918: 212, 214-215, no. 131, repro.

1919

  • Bode, Wilhelm von. Die Meister der holländischen und vlämischen Malerschulen. 2nd ed. Leipzig, 1919: 22, 154, 161, repro.

1921

  • Martin, Wilhelm. "Rembrandt Rätsel." Der Kunstwanderer 3 (September 1921): 30–34.

  • Valentiner, Wilhelm R. Rembrandt: wiedergefundene Gemälde (1910-1922). Klassiker der Kunst in Gesamtausgaben 27. Stuttgart and Berlin, 1921: 19, 313, repro.

  • Rosenberg, Adolf. The Work of Rembrandt. Edited by Wilhelm R. Valentiner. Classics in Art 2. 3rd ed. New York, 1921: 18, 313, repro.

1922

  • Neumann, Carl. Rembrandt. (1902). 2 vols. Munich, 1922: 252-253, no. 58, repro.

1923

  • Van Dyke, John C. Rembrandt and His School. New York, 1923: 163, 164, 171.

  • Farington, Joseph. The Farington Diary. 8 vols. Edited by James Grieg. 3rd ed. London, 1923–1927: 1(1923):308-309.

  • Hind, C. Lewis. Landscape Painting from Giotto to the Present Day. 2 vols. New York, 1923-1924: 1:186-187, repro. facing 188.

  • Manson, James Bolivar. Rembrandt, 1607-1669. New York, 1923: 60, 66.

  • Orpen, Sir William, ed. The Outline of Art. 2 vols. New York and London, 1923-1924: 1: repro. between 156 and 157.

  • Meldrum, David S. Rembrandt’s Painting, with an Essay on His Life and Work. New York, 1923: 110, 111, 198, pl. 324.

  • Paintings in the Collection of Joseph Widener at Lynnewood Hall. Intro. by Wilhelm R. Valentiner. Elkins Park, Pennsylvania, 1923: unpaginated, repro.

1924

  • MacColl, D.S. "Rembrandt at the Wallace Collection." The Burlington Magazine 45, no. 11 (July 1924): 21.

1925

  • Grosse, Ralph. Die holländische Landschaftkunst, 1600-1650. Stuttgart, 1925: 108.

1926

  • Weisbach, Werner. Rembrandt. Berlin, 1926: 419, fig. 125.

  • Drost, Willi. Barockmalerei in den germanischen Ländern. Potsdam, 1926: 166.

  • Grundy, Cecil Reginald. "American Collectors." _The Connoisseur _ 76 (1926): 132.

1928

  • Whitley, William T. Art in England, 1800-1820. New York and Cambridge, 1928: 111-112, no. 16.

  • Whitley, William T. Artists and their Friends in Engalnd, 1700-1799. 2 vols. London and Boston, 1928: 2:181.

1929

  • Wilenski, Reginald Howard. An Introduction to Dutch Art. New York, 1929: 112.

1930

  • Valentiner, Wilhelm R. "Important Rembrandts in American Collections." Art News 28, no. 30 (26 April 1930): 4, 17, repro.

1931

  • Frankfurter, Alfred M. "Masterpieces of Landscape Painting in American Collections." The Fine Arts 18, no. 1 (December 1931): 22, 28, repro.

  • Hendy, Philip. Catalogue of the Exhibited Paintings and Drawings. Boston, 1931: 298.

  • Valentiner, Wilhelm R. Rembrandt Paintings in America. New York, 1931: pl. 109.

  • Paintings in the Collection of Joseph Widener at Lynnewood Hall. Intro. by Wilhelm R. Valentiner. Elkins Park, Pennsylvania, 1931: 64-65, no. 658, repro.

1932

  • Hind, Arthur M. Rembrandt: Being the Substance of the Charles Eliot Norton Lectures Delivered before Harvard University 1930-1931. Cambridge, Massachusetts, 1932: 113-114, 115, 117, 149, pl. 22.

  • Waterhouse, Ellis K. "Mr. Hind on Rembrandt." The Burlington Magazine 61, no. 356 (November 1932): 238-239.

1935

  • Cole, Alphaeus P. and Margaret Ward Cole. Timothy Cole, Wood-Engraver. New York, 1935: 157.

  • Tietze, Hans. Meisterwerke europäischer Malerei in Amerika. Vienna, 1935: 179, 337, repro.

1936

  • Holmes, Charles John. Self and Partners (Mostly Self): Being the Reminiscences of C. J. Holmes. New York, 1936: 287.

  • Leslie, Shane. American Wonderland: Memories of Four Tours in the United States of America (1911-1935). London, 1936: 113, 115.

1937

  • MacLaren, Neil. "Review of The Paintings of Rembrandt." The Burlington Magazine 71 (August 1937): 100.

  • Cheney, Sheldon. A World History of Art. New York, 1937: 712.

  • Tarkington, Booth. "Preface." In Dutch Paintings, Etchings, Drawings, Delftware of the Seventeenth Century. Exh. cat. John Herron Art Museum, Indianapolis, 1937: unpaginated.

1938

  • Brimo, René. Art en goût: L’évolution du goût aux Etats-Unis d’après l’histoire des collections. Paris, 1938: 106, 125 n. 26.

  • Waldmann, Emil. "Die Sammlung Widener." Pantheon 22 (November 1938): 336, repro. 338, 342.

1939

  • McCall, George Henry. Masterpieces of art: Catalogue of European paintings and sculpture from 1300-1800. Edited by Wilhelm R. Valentiner. Exh. cat. New York World's Fair, New York, 1939: 179, 321, repro.

  • Tietze, Hans. Masterpieces of European Painting in America. New York, 1939: no. 179, repro.

1940

  • Widener, Peter A.B. Without Drums. New York, 1940: 55-56.

1942

  • National Gallery of Art. Works of art from the Widener collection. Washington, 1942: 6, no. 658.

1944

  • Poortenaar, Jan. Schilders van het hollandsche landschap. Naarden, 1944: 44, 46, repro.

  • Godwin, Blake-More. "Pearls of English Collecting Now in America." _Art News _ 43 (December 1944): 16-17, 24.

  • Cairns, Huntington, and John Walker, eds. Masterpieces of Painting from the National Gallery of Art. Translated. New York, 1944: 100-101 color repro.

1945

  • Wilenski, Reginald Howard. Dutch Painting. Revised ed. London, 1945: 90.

1948

  • Rosenberg, Jakob. Rembrandt. 2 vols. Cambridge, MA, 1948: 1:30-31; 2:fig. 144.

  • National Gallery of Art. Paintings and Sculpture from the Widener Collection. Washington, 1948: ix, 39, repro.

1954

  • Loshak, David. The Art of Thomas Girtin. London, 1954: 87-88, no. 96, repro.

1955

  • Oppé, Paul. "Review of The Art of Thomas Girtin." The Burlington Magazine 97 (December 1955): 392–395.

1956

  • James, Henry. The Painter's Eye: Notes and Essays on the Pictorial Arts. Edited by John L. Sweeney. London, 1956: 155.

  • Knuttel, Gerhardus. Rembrandt: de meester en zijn werk. Amsterdam, 1956: 142, 279.

  • Walker, John. National Gallery of Art, Washington. New York, 1956: 42, color repro.

  • Cheney, Sheldon. A New World History of Art. Revised ed. New York, 1956: 489.

1957

  • Winkler, Friedrich. "Echt, Falsch, Verfälscht." Kunstchronik 10, no. 5 (May 1957): 141-147.

  • Shapley, Fern Rusk. Comparisons in art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 147.

1959

  • National Gallery of Art. Paintings and Sculpture from the Widener Collection. Reprint. Washington, DC, 1959: ix, 39, repro.

1960

  • Baird, Thomas P. Dutch Painting in the National Gallery of Art. Ten Schools of Painting in the National Gallery of Art 7. Washington, 1960: 16, color repro.

  • The National Gallery of Art and Its Collections. Foreword by Perry B. Cott and notes by Otto Stelzer. National Gallery of Art, Washington (undated, 1960s): 25.

1962

  • Constable, John. John Constable's Correspondence. Compiled and annotated by R.B. Beckett. 8 vols. London, 1962-1975: 7(1970):60, 62, 87.

  • Boeck, Wilhelm. Rembrandt. Stuttgart, 1962: 50.

1963

  • Walker, John. National Gallery of Art, Washington, D.C. New York, 1963: 180, no. 658, repro.

1964

  • Rosenberg, Jakob. Rembrandt: Life and Work. Revised ed. Greenwich, Connecticut, 1964: 167-168, no. 144, repro.

1965

  • National Gallery of Art. Summary Catalogue of European Paintings and Sculpture. Washington, 1965: 110.

1966

  • Rosenberg, Jakob, Seymour Slive, and Engelbert H. ter Kuile. Dutch Art and Architecture: 1600–1800. Pelican History of Art. Baltimore, 1966: 74.

  • Stechow, Wolfgang. Dutch Landscape Painting of the Seventeenth Century. Kress Foundation Studies in the History of European Art 1. London, 1966: 137, 211 n 23, no. 277, repro.

  • Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 1: 224-225, color repro.

1968

  • Stechow, Wolfgang. Dutch landscape painting of the seventeenth century. Kress Foundation Studies in the History of European Art 1. 2nd ed. London, 1968: 137, 211 n. 23, no. 277, repro.

  • Gandolfo, Giampaolo et al. National Gallery of Art, Washington. Great Museums of the World. New York, 1968: 13.

  • Clifford, Derke, and Timothy Clifford. John Crome. Greenwich, 1968: 246.

  • National Gallery of Art. European Paintings and Sculpture, Illustrations. Washington, 1968: 98, repro.

1969

  • Gage, John. Color in Turner: Poetry and Truth. New York, 1969: 64, 198-199, 271 n. 5.

  • National Gallery of Art. Rembrandt in the National Gallery of Art: Commemorating the tercentenary of the artist's death. Exh. cat. National Gallery of Art, Washington, 1969: 16-17, no. 6, repro.

1972

  • Gage, John. Turner: Rain, Steam, and Speed. New York, 1972: 47, 61-63, no. 41, 61, repro.

  • Regteren Altena, J. Q. van. "Het Pontje van Rembrandt." Nederlands Kunsthistorisch Jaarboek 23 (1972): 125.

1973

  • Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 93, 98 repro.

1974

  • Hendy, Philip. European and American Paintings in the Isabella Stewart Gardner Museum. Boston, 1974: 206.

1975

  • Wright, Christopher. Rembrandt and His Art. London and New York, 1975: 68, 70, 71, fig. 54.

  • National Gallery of Art. European paintings: An Illustrated Summary Catalogue. Washington, 1975: 288-289, repro.

  • Walker, John. National Gallery of Art, Washington. New York, 1975: 38, 274, no. 364, color repro.

1977

  • Wheelock, Arthur K., Jr. "De Geschiedenis en Bekoring van 'De Molen'." Kroniek van het Rembrandthuis 29, no. 1 (1977): 20-32, repro.

1978

  • Hochfield, Sylvia. "The Great National Gallery Cleaning Controversy." Art News 77 (October 1978): 58-61, repro.

1979

  • Wheelock, Arthur K., Jr. "De Restauratie van 'De Molen'." Kroniek van het Rembrandthuis 31, no. 1 (1979): 9-13, repro.

1983

  • Larsen, Erik. Rembrandt, peintre de paysages: Une vision nouvelle. Louvain-la-Neuve, 1983: 76-77, 99, no. 13, pl. 16.

1984

  • Butlin, Martin, and Evelyn Joll. The Paintings of J. M. W Turner. 2 vols. Rev. ed. New Haven, 1984: 72-73.

  • Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 274, no. 358, color repro.

  • Wheelock, Arthur K., Jr. Dutch Painting in the National Gallery of Art. Washington, D.C., 1984: 24, 25, repro.

  • Rosenberg, Jakob, Seymour Slive, and Engelbert H. ter Kuile. Dutch Art and Architecture. The Pelican History of Art. Revised ed. Harmondsworth, 1984: 74.

  • Sutton, Denys. "Aspects of British Collecting, Part III: XIII The Orléans Collection." Apollo 119 (1984): 359, fig. 2, 362.

1985

  • National Gallery of Art. European Paintings: An Illustrated Catalogue. Washington, 1985: 332, repro.

  • Schneider, Cynthia P. "A New Look at ‘The Landscape with an Obelisk'." Fenway Court [Isabella Stewart Gardner Museum Annual Report] (1985): 10.

  • Ford, Brinsley. "Pictures lost to the Nation." NACF Magazine 29 (Christmas 1985): 14, repro. 11.

1986

  • Sutton, Peter C. A Guide to Dutch Art in America. Washington and Grand Rapids, 1986: 313-314.

1987

  • Sutton, Peter C. Masters of 17th-century Dutch landscape painting. Exh. cat. Rijksmuseum, Amsterdam; Museum of Fine Arts, Boston; Philadelphia Museum of Art. Boston, 1987: 460, 462 n 11.

1988

  • Moore, Andrew W. Dutch and Flemish painting in Norfolk: a history of taste and influence, fashion and collection. Exh. cat. Norwich Castle Museum. London, 1988: xix, 46.

  • Slive, Seymour. "Seventeenth-Century Dutch Landscape Painting." The Burlington Magazine 130 (May 1988): 395-398, repro.

  • Wheelock, Arthur K., Jr. "The Art Historian in the Laboratory: Examinations into the History, Preservation, and Techniques of 17th Century Dutch Painting." In The Age of Rembrandt : studies in seventeenth-century Dutch painting. Papers in art history from the Pennsylvania State University 3. Edited by Roland E. Fleischer and Susan Scott Munshower. University Park, PA, 1988: 214, fig, 9-5; 216-218; 226, fig. 9-8, X-ray; fig. 9-9, detail X-ray.

1989

  • Brown, Christopher. "Re-appraising Rembrandt." Sotheby’s Preview (November/December 1989): 6-9.

  • Stichting Foundation Rembrandt Research Project. A Corpus of Rembrandt Paintings. Vol. 3: 1635-1642. Edited by Josua Bruyn, et al. Dordrecht, Boston, and London, 1989: 49-50, fig. 52.

1990

  • Schneider, Cynthia P. Rembrandt’s Landscapes: Drawings and Prints. Exh. cat. National Gallery of Art, Washington. Boston, 1990: 5, 27, 42, 44-46, 47, 54, 84-85, 88, 113-114, 183-190, 208, 234 n.95, pl. 5.

  • Broos, Ben P. J., ed. Great Dutch Paintings from America. Exh. cat. Royal Picture Gallery Mauritshuis, The Hague; Fine Arts Museums of San Francisco. The Hague and Zwolle, 1990: 43 fig. 30, 122-123, repros.

1991

  • Kopper, Philip. America's National Gallery of Art: A Gift to the Nation. New York, 1991: 195, 196. 198.

1992

  • Mellon, Paul, and John Baskett. Reflections in a Silver Spoon: A Memoir. New York, 1992: 311-313.

  • National Gallery of Art. National Gallery of Art, Washington. New York, 1992: 130, repro.

  • Hall, Nicholas H. J. Colnaghi in America a survey to commemorate the first decade of Colnaghi New York. New York, 1992: 20, fig. 19.

1993

  • Pidgley, Michael. "The Mill by Rembrandt." In The Romantic Windmill: The Windmill in British Art from Gainsborough to David Cox, 1750-1850. Edited by Timothy Wilcox. Exh. cat. Hove Museum and Art Gallery; Usher Gallery, Lincoln; Gainsborough's House, Sudbury. Hove, 1993: 16-27, 48.

1995

  • Wheelock, Arthur K., Jr. Dutch Paintings of the Seventeenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, 1995: 230-241, color repro. 233.

  • Verbraeken, René. La peinture de paysage en Hollande au XVIIe siècle. Paris, 1995: pl. XXIII, 211-214.

  • Liedtke, Walter A. Rembrandt/not Rembrandt in the Metropolitan Museum of Art: aspects of connoisseurship. Vol. 2, Paintings, drawings, and prints: art-historical perspectives. Exh. cat. Metropolitan Museum of Art, New York, 1995: 28.

1997

  • Fleischer, Roland E., and Susan C. Scott, eds. Rembrandt, Rubens, and the art of their time: recent perspectives. Papers in art history from the Pennsylvania State University 11. University Park, PA, 1997: no. 1-8, repro.

  • Pomeroy, Jordana. "The Orléans Collection: its Impact on the British art world." _Apollo _ 27 (February 1997): 27, repro.

1998

  • Stott, Annette. Holland mania: the unknown Dutch period in American art & culture. Woodstock, New York, 1998: 20, fig. 2.

1999

  • Schneider, Norbert. Geschichte der Landschaftsmalerei, vom Spätmittelalter bis zur Romantik. Darmstadt, 1999: 159, repro.

  • Thornes, John E. John Constable's skies: a fusion of art and science. Birmingham, 1999: 168, 169, pl. 76.

2000

  • Wright, Christopher. Rembrandt. Collection Les Phares 10. Translated by Paul Alexandre. Paris, 2000: 289, fig. 290, repro.

2002

  • Quodbach, Esmée. "The Last of the American Versailles: The Widener Collection at Lynnewood Hall." Simiolus 29, no. 1/2 (2002): 45, 46, note 6, repro.

2003

  • Verdi, Richard. Saved!: 100 years of the National Art Collections Fund. Exh. cat. Hayward Gallery, London, 2003: 30, fig. 8.

  • Waagen, Gustav Friedrich. Treasures of Art in Great Britain. Translated by Elizabeth Rigby Eastlake. Facsimile edition of London 1854. London, 2003: 2:501-502, no. 5; 3:156-158.

2004

  • Scallen, Catherine. Rembrandt, Reputation, and the Practice of Connoisseurship. Amsterdam, 2004: 204..

  • Lambert, Ray. John Constable and the theory of landscape painting. Cambridge, 2004: 158, 159, repro.

2005

  • Smith, David R. "Rembrandt's Metaphysical Wit: The three trees and the Omval". Word & Image 21, no. 1 (January-March 2005): 3, 5, repro.

2006

  • Bakker, Boudewijn. "An Amsterdam Windmill in Washington." In Rembrandt 2006. 2 vols. Edited by Michiel Roscam Abbing. Leiden, 2006: 1:74-84, fig. 5a, as by Rembrandt (?).

  • Rosenberg, Pierre. Only in America: One Hundred Paintings in American Museums Unmatched in European Collections. Milan, 2006: 18, color fig. 19.

  • Heffernan, James A. W. Cultivating Picturacy: Visual Art and Verbal Interventions. Waco, Texas, 2006: 143, fig. 7.1.

  • Gifford, E. Melanie. "Evocation and Representation: Rembrandt’s Landscape Painting Technique." In Rembrandt's Landscapes. Edited by Christiaan Vogelaar and Gregor J. M. Weber. Exh. cat. Staatliche Museen Kassel, Gemäldegalerie Alte Meister, Kassel; Stedelijk Museum De Lakenhal, Leiden) Zwolle, 2006: 120-143.

  • Schwartz, Gary. The Rembrandt Book. New York, 2006: 242, 243, repro.

  • Vogelaar, Christiaan, and Gregor J. M. Weber, eds. Rembrandt's Landscapes. Exh. cat. Staatliche Museen Kassel, Gemäldegalerie Alte Meister, Kassel; Stedelijk Museum De Lakenhal, Leiden. Leiden, 2006: repro. 76, 135, no. 5, fig. 58.

  • Hochfield, Sylvia. "Rembrandt: Myth, Legend, Truth." Art News Magazine 105 (Summer 2006): 167, repro.

2007

  • Brown, Christopher. "The Rembrandt Year." The Burlington Magazine 149, no. 1247 (February 2007): 105, 106, repro.

2009

  • Solkin, David H. Turner and the Masters. Exh. cat. Tate Britain, London; Galeries nationales du Grand Palais, Paris; Museo Nacional del Prado, Madrid. New York, 2009: no. 57, 162, repro. 163 (English cat.), no. 70 (French cat.), no. 58 (Spanish cat.).

2011

  • Slive, Seymour. Jacob van Ruisdael: Windmills and Water Mills. Los Angeles, 2011: 4, 7, 98 n. 3, fig. 3.

2013

  • Harris, Neil. Capital Culture: J. Carter Brown, the National Gallery of Art, and the Reinvention of the Museum Experience. Chicago and London, 2013: 229-235, 237, 238, 240, 245-250, 541 n. 37.

2014

  • Bikker, Jonathan, and Gregor J.M. Weber. Rembrandt: The Late Works. Exh. cat. National Gallery, London; Rijksmuseum, Amsterdam. London, 2014: 293 fig. 98.

  • Wheelock, Arthur K, Jr. "The Evolution of the Dutch Painting Collection." National Gallery of Art Bulletin no. 50 (Spring 2014): 2-19, repro.

2018

  • Seifert, Christian Tico, et al. Rembrandt: Britain's Discovery of the Master. Exh. cat. National Galleries of Scotland, Edinburgh, 2018: 81, 126-127, no. 8, fig. 91.

  • Meersschaert, Erik. Adrian Brouwer--zo zijn leven, zo zijn werk. Oudenaarde, 2018: 256, 260-261, color repro.

Wikidata ID

Q3224802

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