Wikimedia Commons

File:Rembrandt van Rijn værksted , Kristus i Emmaus, 1648, KMSsp405, Statens Museum for Kunst.jpg

Original file ‎(3,624 × 2,904 pixels, file size: 6.91 MB, MIME type: image/jpeg)

Captions

Captions

Add a one-line explanation of what this file represents

Summary edit

Rembrandt van Rijn and Workshop: Supper at Emmaus  wikidata:Q20355838 reasonator:Q20355838
Artist
Rembrandt van Rijn and Workshop   wikidata:Q120798588
 
Alternative names
Rembrandt Workshop
Authority file
image of artwork listed in title parameter on this page
Title
Danish:
Kristus i Emmaus

Supper at Emmaus
title QS:P1476,da:"Kristus i Emmaus"
label QS:Lda,"Kristus i Emmaus"
Object type painting
object_type QS:P31,Q3305213
Genre religious art Edit this at Wikidata
Description
Dansk: Kristus i Emmaus
Depicted people Jesus Edit this at Wikidata
Date 1648
date QS:P571,+1648-00-00T00:00:00Z/9
Medium
Dansk: Olie på lærred
Dimensions height: 1,080 mm (42.51 in); width: 1,302 mm (51.25 in)
dimensions QS:P2048,1080.0U174789
dimensions QS:P2049,1302.0U174789
institution QS:P195,Q671384
Accession number
KMSsp405
Object history
  • Dansk: - 1759, 5. juli: solgt på auktion i Amsterdam, nr. 7

Placeringshistorie: - 1760: til Kunstkammeret - 1887: ophængt i Løngangen - 1966, 12. marts: Glyptoteket

- 1969, 20. sept.: retur Sølvgade
Exhibition history
  • Holländsk guldålder, Nationalmuseum, Stockholm, 22 September 2005–8 January 2006
  • ”Behind the Veil: Revelation and Concealment since the renaissance”, Stiftung museum kunst palast, Düsseldorf, 30 September 2016–21 January 2017
  • Rembrandt? Mesteren og hans værksted, Sølvgade, 4 February 2006–14 May 2006
  • 'Heads of Christ, from life': Rembrandt and the Images of Jesus, Louvre, 18 April 2011–17 July 2011
  • 'Heads of Christ, from life': Rembrandt and the Images of Jesus, Philadelphia Museum of Art, 29 July 2011–29 October 2011
Inscriptions
Rembrandt. f. 1648
Notes
  • Dansk: Værkdatering: 1648
  • Dansk: signaturen er ikke autentisk, se Rembrandt? Mesteren og hans værksted, udstillingskatalog, SMK 2006, s. 90 og note 135 s. 103
  • Dansk: Tidligere Inventarnumre:

- Fortegnelser over Wahls og Morells Køb p. 74 og 87 nr. 13 - Papirer vedr. Morells køb nr. 13 - Wahls Manual 1737-65, p. 116 - Beurtheilendes Verzeichniss 1767, nr. 15

Yderligere litteraturoplysninger: - Sander, i: Deutsches Magazin, nr. IV, (1792), 536

Katalognumre: - Spengler nr. 405 - Cat. 1864 nr. 370 - Cat. 1875 nr. 287 - Kat. 1904 nr. 277 (se arkiveksemplar I) - Kat. 1922 nr. 280

- Kat. 1946 nr. 569
References
  • A. Bredius (1935) Rembrandt: Gemälde. 630 Abbildungen, nr. 579 (afb.), 12170
  • Wilhelm Bode (1897-1905) Rembrandt, vol. V: nr. 327 (afb.), 1360a
  • Peter Hertz (1924) Den kongelige Malerisamlings Tilblivelse, p. 376, afb. 371, 15619
  • J.Q. van Regteren Altena (1949) Rembrandt's way to Emmaus, å. 1ff, p. 13ff, p. 18f, p. 24 og p. 26, afb. p. 1, 18670
  • Richard Hamann (1948) Rembrandt, p. 278, 18829
  • Karl Madsen (1920) Nogle restaurerings-resultater, p. 140, 2002-657
  • Ubekendt (1914) De Hagedornske Samlinger, p. 163, 2002-658
  • Sven Bjerkhof (2005) SMK highlights: Statens Museum for Kunst, omt. og afb. p. 46, 2005-071
  • Lene Bøgh Rønberg (2006) Rembrandt?: the master and his workshop, kat. 11, p. 190-191 (afb.), p. 80-95 (afb. detaljer), p. 106-107, 109, 113-114, p. 138-139 (afb. af røntgenopt.), p. 192, 278, 2006-021
  • Lawrence Gowing (1952) Vermeer, p. 103, 20336
  • Cornelis Hofstede de Groot (1907-28) Beschreibendes und kritisches Verzeichnis der Werke der hervorragendsten Holländischen Maler des XVII Jahrhunderts, vol. VI (1915): 90 nr. 144, 2119
  • Else Kai Sass (1953) Kunstforståelse: maleri, p. 112 afb. 115, 21250
  • Anthony Bertram (1955) Rembrandt, afb. p. 39, 22170
  • Werner Sumowski (1957/58) Nachträge zum Rembrandt jahr 1956, vol. VII: p. 226, 26186
  • Joseph Gantner (1964) Rembrandt und die Verwandlung klassische Fremen, p. 139, afb. 40, 140ff, 147, 149, 151, 153, 159, 31603
  • Horst Gerson (1968) Rembrandt paintings, nr. 219 (ill.), 34758
  • A. Bredius (1969) Rembrandt: The complete edition of the paintings, nr. 579, fig. 491: "genuine Rembrandt", 34769
  • Henning S. Møller (1971, 1975) Oplysningsforbundets kunsttillæg 1968-70: 1974, nr. 73-84, gengivet, 36350
  • Henning S. Møller (1968-?) Oplysningsforbundets kunsttillæg, gengivet, 36350
  • Ubekendt (date unspecfied) La peinture flammande et hollandaise au 17e siècle, p. 220-21, 38808
  • Jacqueline et Maurice Guillaud (1986) Rembrandt: la figuration humaine, afb. p. 566 nr. 652, 52694
  • Mikael Wivel (1994) Lysets tøven: Niels Larsen Stevns og de store fortællinger, p. 181, 55273
  • Jörg Zink (1984) Wir werden alle auferstehen: eine Betrachtung von Jörg Zink zu Passions- und Osterbildern von Rembrandt Harmensz. van Rijn, p. 15 og 17 (afb.), 65778
  • Jacques Foucart (1982) Les peintures de Rembrandt au Louvre, p. 52 ill., 66056
  • Wolfgang Kemp (1986) Rembrandt: die Heilige Familie, p. 28, afb., (om forhænget), 87-297
  • Christian Tümpel (cop. 1986) Rembrandt: Mythos und Methode, kat A8, ill. p. 248, omt. p. 420, 87-480
  • Kasper Monrad (1989) Hverdagsbilleder: dansk guldalder, pp. 222, 224 (afb. i s/h p. 222), 89-586
  • Patrik Reuterswärd (1991) The visible and invisible in art: essays in the history of art, p. 237-38, ill. 239 (om hensigten med forhænget og belysningen), 91-444
  • Albert Blankert (1991) Museum Bredius: catalogus van de schilderijen en tekeningen, omtalt p. 172 (Diskuterer produktionsrækkefølgen mellem de to Emmausbilleder i Louvre og København samt hovedet i s'Gravenhage. Blankert accepterer implicit tilskrivningen til Rembrandt), 91-514
  • Christian Tümpel (1993) Rembrandt: all paintings in colour, p. 248 afb. (f) kat. A8 [Rembrandts værksted], p. 423, 94-506
  • Werner Weisbach (1926) Rembrandt, p. 386, 499, 9484
  • Villads Villadsen (1998) Statens Museum for Kunst: 1827-1952, P.32 (om Morells køb og billedets senere fraskrivning), omtalt p.91, 104 (E.Michels opfattelse af værket som en skitse eller et værkstedsarbejde), p.279 (opfattelsen af billedet i Falck og Madsens tid), afb. (s/h) p.285, 98-419
  • J. Bolten (1978) The hidden Rembrandt, fig. 370, B 3169 mb
  • Karl Madsen (1911) Billeder af Rembrandt og hans Elever i den kgl. Malerisamling København, p. 7-36 (afb.), C 1627 mb
  • W. R Valentiner (1905) Rembrandt und seine Umgebung, p. 295 (afb.), 559, C 30196 B
  • Knut Ljøgodt (2005) Fra gullalder til cobra: dansk kunst i 150 år, omt. p. 88 som inspirationskilde for Købke, C 30890
  • Eva de la Fuente Pedersen (2006) Événement l'année Rembrandt, ill. p. 9, omt. p. 9, C 33078 B
  • Arthur M. Hind (1932) Rembrandt, p. 63 (afb.), C 4222 mb
  • Ubekendt (2011) Rembrandt et la figure du Christ, kat. 28, planche 3,2, omt. p. 77 f., ill .p. 78, C 47420
  • Ubekendt (2011) Rembrandt and the face of Jesus, Omt. p. 77-79, ill. p. 78, pl. 3.2 Kat. nr. 28, p. 239, C 47905
  • Kurt Bauch (1966) Rembrandt: Gemälde, p. 49 ("Freie, sehr gute Wiederholung des Louvre-Bildes (nr. 82). Der ganze Bilderrahmen nebst Vorhang und Stange ist mitgemalt"), C 9348 mb
  • Poul Erik Tøjner (1992) Museernes bedste billeder: fra Skagen til Bornholm, vol. II: p. 74 (afb. i farve), D 21827:1-2
  • Görel Cavalli-Björkman (2005) Holländsk guldålder: Rembrandt, fran Hals och deras samtida, Omt. p. 77, 302 of 305, afb. p. 81, D 31440
  • Otto Benesch (1935) Rembrandt: Werk und Forschung, p. 39, D 6462 mb
  • Adeline Cacan (1970) Le siecle de Rembrandt, p. 180
  • Patrick Reuterswärd (date unspecfied) Tavelförhänget, p. 99ff,
  • Gary D. Schwartz (1985) Rembrandt, his life, his paintings, p. 247 kat.nr 247 (ill.) ("The debate over the authenticity of the painting highlights an ambiguity on Rembrandt's way of doing things in these years: using motifs from one painting for another, copying his own work, letting associates like v.d. Eeckhout make copies for him."), [I konkordanslisten bemærkes det, at Schwartz på trods af sin tvivl om tilskrivningen valgte at inkludere maleriet.], eks05 Jul 2002 12:55:39:450
  • Leonard J. Slatkes (1992) Rembrandt. Catalogo completo, p. 124 under kat. 62 ("...un altro dipinto raffigurante le Cena in Emmaus, oggi a Copenhagen, sul quale si trova iscritta la data del 1648. L'autografia di questo secondo Emmaus é stata con ragione messa in dubbio da Bauch, e invece confermata da Gerson e Schwartz. Sia l'uso dell'illuminazione artificiale, forse in piccola parte dovuto all'influenza della precedente versione dello stesso tema eseguita da Rembrandt nel periodo di Leida, sia la tendina e la cornice eseguiti con tecnica illusionistica, di sicura derivazione dalla Sacra Familiglia del 1646 [Br 572], fanno presumere che ad eseguire questa versione del soggetto, tutt'altro che priva di interesse, sia stato uno studente sotto la supervisione di Rembrandt, e non il maestro stesso.")
  • Harald Isenstein (date unspecfied) De tidligste Rembrandt-biografier, afb. p. 14
  • F.W.B. von Ramdohr (1792) Studien auf einer Reise nach Dänemark, p. 112
  • Seymour Slive (date unspecfied) An Unpublished 'Head of Christ' by Rembrandt, p. 411f, fig. 9 (det.)
  • Charles Perussaux (date unspecfied) Le Veritable Sujet des 'Disciples d'Emmaus' de Rembrandt, p. 322ff (afb. det. fig. 4)
  • Lucien Rudrauf (1956) Le Repas d'Emmaüs, vol. I: 175f, vol. II: afb. 156
  • Patrick Reuterswärd (date unspecfied) Om realismen i holländsk bildtradition, pp. 7f, 11 fig. 11
  • Edouard Plietzsch (date unspecfied) Randbemerkungen zur holländischen Interieurmalerei an beginn des 17. Jahrhundert, p. 213 (afb.), 215 (før Louvre-versionen)
  • Emile Michel (date unspecfied) De Stockholm á Copenhague, p. 305-306, eks20 May 2009 14:25:36:743
  • Gerhard Nilsson (1932) Notices on all the so-called Rembrandts and Titians and on several so-called Rubenses, Ruisdaels and Vrooms in the Danish Galleries, p. 7 ("painted by one of his (Rembrandt's) scholars"), eks20 May 2009 14:29:42:727
  • Hans Vollmer (date unspecfied) Die Alte Gemäldegaleri in Kopenhagen, p. 556
  • Richard Verdi (2014) (Please provide the title of the work), afb. p. 34 (fig. 27), omt. p. 34ff
  • Charlotte Christensen (2016) Drømmebilleder, afb. p. 356
Source/Photographer
Other versions

Licensing edit

This is a faithful photographic reproduction of an original two-dimensional work of art. The work of art itself is in the public domain for the following reason:

Public domain

The author died in 1669, so this work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer.

This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1929.

This file has been identified as being free of known restrictions under copyright law, including all related and neighboring rights.

This digital reproduction has been released under the following licenses:

Creative Commons CC-Zero This file is made available under the Creative Commons CC0 1.0 Universal Public Domain Dedication.
The person who associated a work with this deed has dedicated the work to the public domain by waiving all of their rights to the work worldwide under copyright law, including all related and neighboring rights, to the extent allowed by law. You can copy, modify, distribute and perform the work, even for commercial purposes, all without asking permission.

In many jurisdictions, faithful reproductions of two-dimensional public domain works of art are not copyrightable. The Wikimedia Foundation's position is that these works are not copyrightable in the United States (see Commons:Reuse of PD-Art photographs). In these jurisdictions, this work is actually in the public domain and the requirements of the digital reproduction's license are not compulsory.

File history

Click on a date/time to view the file as it appeared at that time.

Date/TimeThumbnailDimensionsUserComment
current01:26, 9 November 2023Thumbnail for version as of 01:26, 9 November 20233,624 × 2,904 (6.91 MB)WLKBot (talk | contribs){{SMK Open|KMSsp405}}

You cannot overwrite this file.

Metadata

This file contains additional information such as Exif metadata which may have been added by the digital camera, scanner, or software program used to create or digitize it. If the file has been modified from its original state, some details such as the timestamp may not fully reflect those of the original file. The timestamp is only as accurate as the clock in the camera, and it may be completely wrong.

Retrieved from "https://commons.wikimedia.org/w/index.php?title=File:Rembrandt_van_Rijn_værksted_,_Kristus_i_Emmaus,_1648,_KMSsp405,_Statens_Museum_for_Kunst.jpg&oldid=866499996"