Seated Female Nude
Rembrandt van Rijn
1660/62
For Rembrandt van Rijn, simple honesty of vision and sureness of line were far more important than the classical glorification of the nude. He focused on this subject only during certain phases of his career, and very few of the resulting studies, which he used to prepare biblical or mythological representations, survive today. This strong form is a late work, and one of only four extant drawings of the female nude attributed to Rembrandt with certainty. Unlike the almost scientific realism of his earlier nudes, his late studies are less detailed and more painterly. He attained a maximum of expression with a minimum of means. Rendered with a swift treatment by brush and the blunt reed pen favored by the artist in his late years, this ample figure projects a forceful presence. Her face is generalized, and her feelings are suggested through her contemplative pose. Her simple shape and external immobility seem to increase the viewer’s sense of her inner vitality. In Seated Female Nude, Rembrandt’s penstrokes and brushwork are integrated with the utmost lightness and perfection; the pen stresses structural features, while the brush provides a transparent, atmospheric tone linking figure and space.
| Title | Seated Female Nude |
|---|---|
| Artist | Rembrandt van Rijn |
| Date | 1660/62 |
| Medium | Pen and brown ink and brush and brown wash, with subtractive highlights (scraping) and touches of opaque white watercolor corrections, on ivory laid paper, laid down on cream laid card |
| Dimensions | Primary/secondary supports: 21.2 × 17.5 cm (8 3/8 × 6 15/16 in.) |
About Rembrandt van Rijn
A beloved interpreter of the human experience, Rembrandt van Rijn boldly reimagined the language of 17th-century art by combining close observation from life with the artistic theory of the day. The results proclaimed a new level of emotional intensity across all genres.
Born in Leiden, Rembrandt attended the Latin School there and registered for two years at the city’s university before undertaking his painting apprenticeships. The second of these, with the Amsterdam master Pieter Lastman, introduced him to the latest trends in Italy, which would shape his approach to narrative painting for years to come. Unlike many of his peers, Rembrandt never traveled abroad but worked solely in the Dutch Republic. He promoted his reputation through an innovative and recognizable handling of paint, the creation of a body of compelling and widely circulated prints, and by cultivating knowledgeable connoisseurs internationally.
Rembrandt’s extraordinary talent was evident early in his career. He likely executed Old Man with a Gold Chain, an anchor of the Art Institute’s collection, around the time he moved from Leiden to Amsterdam. The painting reveals the artist’s ability to achieve visual drama through costume, facial expression, and pose, and, as such, it counts among his most elegant character studies. Along with his colleague and competitor Jan Lievens, Rembrandt transformed such studies, which had traditionally been used to refine skills in the workshop, into products for the open market.
Rembrandt achieved his lucid gestures and expressive poses by relentlessly studying the world around him. The Art Institute possesses a magnificent and rare late drawing by the artist, Seated Female Nude, that attests to his unwavering pursuit of nature. Using a number of single but confident lines to define the woman’s form, he articulates her plumpness with a minimal application of wash, not idealizing her form but reveling in its soft contours.
Rembrandt was also celebrated during his lifetime for his intricate etchings, including his Hundred Guilder Print. It reportedly sold for the princely sum of 100 guilders within five years of its creation. Its complex composition teems with dozens of figures from across the social spectrum. The artist’s masterful command of the etched medium produces a microcosm of humankind, unified by a delicate and symbolic light.
The Art Institute celebrated Rembrandt’s skill as a painter of the human experience in the 2019 exhibition Rembrandt Portraits and highlighted his drawings and prints in the larger context of the 17th century in the 2019–20 exhibition Rubens, Rembrandt, and Drawing in the Golden Age.