COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
MIA_.34.19
amicoid
MIA_.34.19
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Name:
Rembrandt Harmensz van Rijn
crn
Rembrandt Harmensz van Rijn
Creator Name
false
Creator Role:
painter
crr
painter
Creator Role
false
Creator Dates/Places:
1606 - 1669
cdt
1606 - 1669
Creator Dates/Places
false
Gender:
M
cgn
M
Gender
false
Creator Name-CRT:
Rembrandt van Rijn
crt
Rembrandt van Rijn
Creator Name-CRT
false
Title:
Lucretia
otn
Lucretia
Title
false
View:
Front View
rid
Front View
View
false
Creation Date:
1666
oct
1666
Creation Date
false
Creation Start Date:
1666
ocs
1666
Creation Start Date
false
Creation End Date:
1666
oce
1666
Creation End Date
false
Materials and Techniques:
oil on canvas
omd
oil on canvas
Materials and Techniques
false
Materials Terms:
oil
omm
oil
Materials Terms
false
Support Materials:
canvas
oms
canvas
Support Materials
false
Classification Term:
Oil On Canvas
clt
Oil On Canvas
Classification Term
false
Dimensions:
H.43-3/8 x W.36-1/3 in. overall
met
H.43-3/8 x W.36-1/3 in. overall
Dimensions
false
Component Measured:
overall
mcm
overall
Component Measured
false
Measurement Unit:
in
mdu
in
Measurement Unit
false
AMICA Contributor:
The Minneapolis Institute of Arts
oon
The Minneapolis Institute of Arts
AMICA Contributor
false
Owner Location:
Minneapolis, Minnesota, USA
oop
Minneapolis, Minnesota, USA
Owner Location
false
ID Number:
34.19
ooa
34.19
ID Number
false
Credit Line:
The William Hood Dunwoody Fund
ooc
The William Hood Dunwoody Fund
Credit Line
false
Parts and Pieces:
1
opp
1
Parts and Pieces
false
Inscriptions:
SIGNATURE and DATE
oin
SIGNATURE and DATE
Inscriptions
false
Rights:
orl
<a href="http://www.artsmia.org/restrictions.html"target="_new">http://www.artsmia.org/restrictions.html</a>
Rights
false
Provenance:
Radziwill Collection (according to Hofstede de Groot, VI, 1916, No. 220a)
opo
Radziwill Collection (according to Hofstede de Groot, VI, 1916, No. 220a)
Provenance
false
Provenance:
Sale, John Calvert Wombwell, London (Christies), June 4, 1853, No. 8
opo
Sale, John Calvert Wombwell, London (Christies), June 4, 1853, No. 8
Provenance
false
Provenance:
Sale, William W. Bourdon, Newcastle on Tyne, London (Christies) June 28, 1862, No. 137. (bought in)
opo
Sale, William W. Bourdon, Newcastle on Tyne, London (Christies) June 28, 1862, No. 137. (bought in)
Provenance
false
Provenance:
J. Purvis Carter, London and Villa Torrigiani, Quinto, Florence (after 1877)
opo
J. Purvis Carter, London and Villa Torrigiani, Quinto, Florence (after 1877)
Provenance
false
Provenance:
Henry Reinhardt & Co., New York (ca. 1926)
opo
Henry Reinhardt & Co., New York (ca. 1926)
Provenance
false
Provenance:
Herschel V. Jones, Minneapolis (ca. 1927)
opo
Herschel V. Jones, Minneapolis (ca. 1927)
Provenance
false
Context:
According to the Roman historian Livy, Lucretia, the wife of a Roman nobleman, was known for her virtue and loyalty. Sextus Tarquinius, the son of the ruling tyrant, raped her while her husband was away. The next day Lucretia told her husband and father what had happened and, in their presence, took her own life, choosing death over dishonor. No artist before Rembrandt told the story quite like this. He portrayed a poignant moment: Lucretia's profound sadness after she stabbed herself. Using a close vantage point, Rembrandt depicted the blood seeping from her wound, the tears filling her eyes.
Rembrandt painted this work late in his career, using a variety of techniques. In places he applied the colors thickly with a palette knife; elsewhere he painted more thinly with a brush, creating dramatic contrasts of light and dark. The shadows on Lucretia's face, for instance, accentuate her tragic expression. By expertly manipulating paint and glazes, Rembrandt created the illusion of light emanating from Lucretia's inner soul.
Acquired in 1934 34.19
cxd
<P>According to the Roman historian Livy, Lucretia, the wife of a Roman nobleman, was known for her virtue and loyalty. Sextus Tarquinius, the son of the ruling tyrant, raped her while her husband was away. The next day Lucretia told her husband and father what had happened and, in their presence, took her own life, choosing death over dishonor. No artist before Rembrandt told the story quite like this. He portrayed a poignant moment: Lucretia's profound sadness after she stabbed herself. Using a close vantage point, Rembrandt depicted the blood seeping from her wound, the tears filling her eyes.</p><p>Rembrandt painted this work late in his career, using a variety of techniques. In places he applied the colors thickly with a palette knife; elsewhere he painted more thinly with a brush, creating dramatic contrasts of light and dark. The shadows on Lucretia's face, for instance, accentuate her tragic expression. By expertly manipulating paint and glazes, Rembrandt created the illusion of light emanating from Lucretia's inner soul.</p><p>Acquired in 1934 34.19</P>
Context
false
Exhibition History:
Detroit (1930), No. 77, illus.
oeh
Detroit (1930), No. 77, illus.
Exhibition History
false
Exhibition History:
Chicago, Rembrandt and His Circle, (1936), No. 8, illus.
oeh
Chicago, Rembrandt and His Circle, (1936), No. 8, illus.
Exhibition History
false
Exhibition History:
Worcester (1936), No. 10, illus.
oeh
Worcester (1936), No. 10, illus.
Exhibition History
false
Exhibition History:
Cleveland, Cleveland Museum of Art, The Twentieth Anniversary Exhibition, (1936), No.178.
oeh
Cleveland, Cleveland Museum of Art, The Twentieth Anniversary Exhibition, (1936), No.178.
Exhibition History
false
Exhibition History:
Chicago, Great Dutch Masters, (1942), No. 34, illus.
oeh
Chicago, Great Dutch Masters, (1942), No. 34, illus.
Exhibition History
false
Exhibition History:
St. Louis, City Art Museum, Forty Masterpieces, (1947) p. 98, illus.
oeh
St. Louis, City Art Museum, Forty Masterpieces, (1947) p. 98, illus.
Exhibition History
false
Exhibition History:
Los Angeles (1947), No. XXXI, illus.
oeh
Los Angeles (1947), No. XXXI, illus.
Exhibition History
false
Exhibition History:
New York, Wildenstein & Co., (1950), No. 28, illus.
oeh
New York, Wildenstein & Co., (1950), No. 28, illus.
Exhibition History
false
Exhibition History:
Buffalo, New York, Albright Art Gallery, Painters Painters, (1954), No. 9, illus.
oeh
Buffalo, New York, Albright Art Gallery, Painters Painters, (1954), No. 9, illus.
Exhibition History
false
Exhibition History:
Minneapolis, The Minneapolis Institute of Arts, Fortieth Anniversary Exhibition of Forty Masterpieces, (1955), No. 8
oeh
Minneapolis, The Minneapolis Institute of Arts, Fortieth Anniversary Exhibition of Forty Masterpieces, (1955), No. 8
Exhibition History
false
Exhibition History:
Rotterdam/Amsterdam, (1956), No. 98.
oeh
Rotterdam/Amsterdam, (1956), No. 98.
Exhibition History
false
Exhibition History:
New York, M. Knoedler & Co., Paintings and Sculpture from the Minneapolis Institute of Arts, (1957), No. 4, illus.
oeh
New York, M. Knoedler & Co., Paintings and Sculpture from the Minneapolis Institute of Arts, (1957), No. 4, illus.
Exhibition History
false
Exhibition History:
Chicago, The Art Institute of Chicago, Rembrandt After Three Hundred Years, (1969); subsequently The Minneapolis Institute of Arts (1969-1970), and The Detroit Institute of Arts (1970), No. 21, illus. p. 107.
oeh
Chicago, The Art Institute of Chicago, Rembrandt After Three Hundred Years, (1969); subsequently The Minneapolis Institute of Arts (1969-1970), and The Detroit Institute of Arts (1970), No. 21, illus. p. 107.
Exhibition History
false
Exhibition History:
Washington D.C., National Gallery of Art, Rembrandts Lucretias, 22 Sept. 1991 - 5 Jan. 1992; Minneapolis, The Minneapolis Institute of Arts, 18 Jan. - 3 May 1992.
oeh
Washington D.C., National Gallery of Art, Rembrandts Lucretias, 22 Sept. 1991 - 5 Jan. 1992; Minneapolis, The Minneapolis Institute of Arts, 18 Jan. - 3 May 1992.
Exhibition History
false
Link to Work:
MIA_.34.19
rwl
MIA_.34.19
Link to Work
false
Related Multimedia Description:
Antenna Audio: Permanent Collection Tour
rmd
Antenna Audio: Permanent Collection Tour
Related Multimedia Description
false
Related Multimedia Description:
Museum Director and CEO, Evan Maurer, leads visitors through a personal tour of some of the most popular works in the collection.
rmd
Museum Director and CEO, Evan Maurer, leads visitors through a personal tour of some of the most popular works in the collection.
Related Multimedia Description
false
Related Image Identifier Link:
MIA_.1413c.tif
ril
MIA_.1413c.tif
Related Image Identifier Link
false