An Old Lady with a Book (1637)

Rembrandt (1606-1669)

An Old Lady with a Book
1637
Oil on canvas, 109.7 x 91.5 cm
National Gallery of ArtWashington

After learning the fundamentals of drawing and painting in his native LeidenRembrandt 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. He received many commissions for portraits and attracted a number of students who came to learn his method of painting. This woman’s reserved demeanor, her wide-wheel ruff collar, and the Bible in her lap all suggest that she was a conservative member of Dutch society and dedicated to her religious beliefs. The sitter does not communicate directly with the viewer through a gaze or gesture, but instead seems lost in her thoughts about the biblical text she has just read. Despite the inventiveness of the portrait concept and the painterly qualities evident in the face, it seems probable that Rembrandt relegated the costume, chair, and background to a studio assistant. A small but telling detail confirms that the collar was executed after the head was completely finished: a stroke of white paint overlaps the woman’s right cheek. Once Rembrandt had blocked in the form in his customary manner and painted the woman’s head and hands, he likely passed the unfinished canvas on to an assistant to be completed. Shown from the knees up, a pale-skinned woman wearing a black dress with white cuffs and a wide, starched collar sits in a wooden chair against a dark brown background in this vertical portrait painting. Her body faces us and she looks off to our left with brown eyes. She has slight jowls at her chin and her eyes, mouth, and forehead are lined. Her hair is pulled back under a close-fitting black cap. Extending straight from around her neck, her white collar is pleated into narrow figure-eights and nearly reaches her shoulders. She wears a brown stole over her velvety black dress, and both nearly blend with the dark background. She holds a pair of pince-nez spectacles in her right hand, which rests on a thick book in her lap. The spine faces her right, and the opposite edge is fastened with metal clasps. A braided cord affixed to the narrow end of the book near us creates a loop. (NGA)