The Mill
1645/1648
Artist, Dutch, 1606 - 1669

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.

West Building Main Floor, Gallery 48
Artwork overview
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Medium
oil on canvas
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Credit Line
-
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.
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.
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1902
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1909
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1910
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1913
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1914
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1919
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1921
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1922
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1923
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1924
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1925
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1926
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1928
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1929
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1930
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1931
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1932
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1935
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1936
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1937
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1938
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1939
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1940
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1942
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1944
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1945
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1948
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1954
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1955
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1956
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1957
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1959
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1960
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1962
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1963
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1964
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1965
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1966
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1968
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1969
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1972
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1973
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1974
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1975
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1977
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1978
Hochfield, Sylvia. "The Great National Gallery Cleaning Controversy." Art News 77 (October 1978): 58-61, repro.
1979
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1983
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1984
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1985
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1986
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1987
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1988
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1989
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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
Lambert, Ray. John Constable and the theory of landscape painting. Cambridge, 2004: 158, 159, repro.
Scallen, Catherine. Rembrandt, Reputation, and the Practice of Connoisseurship. Amsterdam, 2004: 204..
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