“Rembrandt-Hoogstraten: Colour and Illusion” exhibition at the Kunsthistorisches - Part 2: Emulation and eclecticism ✎

Note: This is a continuation of my write-up of the Rembrandt & Hoogstraten exhibition that I visited earlier this year. Part 1 can be read on Rembrandt-Hoogstraten: Colour and Illusion. Unfortunately, I forgot to finish this write-up.

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Room 3 - Emulation and eclecticism

This part of the exhibition focuses on the theme of emulation. 

The two artists collaborated in Rembrandt’s studio, and obviously came to dominated the market for portraits in Amsterdam for his use of light and his illusionistic styles. 

The exhibition explains that Van Hoogstraten adapted and became an eclectic artist whose works covered a broad range painting styles - from Pieter de Hooch and Gerard ter Borch, to Anthony van Dyck.

This part of the exhibition was excellently curated.

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Still Life with Two Dead Peacocks and a Girl by Rembrandt (1636)

Rembrandt rarely painted still lifes. 

Two dead peacocks next to a girl. She is looking out of a dark window at the colourful feathers of the hanging bird. A pool of blood forming under the body of the left peacock on the left.

Bird’s head, with impressive shadow, protruding beyond the boundaries of the pictorial space.

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Still Life with a Dead Cockerel and a Cat by Van Hoogstraten (1669)

Stunning.

Exhibition suggesting this might be a response to Rembrandt’s Still Life with Two Dead Peacocks (above).

Unlike Rembrandt’s painting, Van Hoogstraten’s features a cat - and not a girl - gazing at the viewer.

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Man in Oriental Costume by Rembrandt (1632)

This painting was popular theme for Rembrandt (known as tronies which means “head, face, or grimace”) and often depicted anonymous people with interesting facial features or costumes rather than a formal portrait.

This is the Alte Pinakothek version.

The man in a turban and rich clothing is consistent with Rembrandt’s interest in “Oriental” style, exoticism and trade.

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The Prophetess Anna by Rembrandt (1635)

Love it.

This is Rembrandt’s mother. 💕

According to the Bible, the Prophetess Anna recognises that the infant Jesus in the temple is the Redeemer. 

The way the light falls on her face highlights her realisation.

Portrayed with quiet dignity and quiet resilience. 

The model for this paintings was probably his mother, Neeltgen Willemsdr. van Zuytbrouck.

Reddened eyes and slightly opened mouth draw our attention.

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Titus van Rijn, the Artist’s Son, Reading by Rembrandt (1658)

Affectionate.

This picture depicts the love of a father.

Titus van Rijn was Rembrandt’s only surviving son from the marriage to his first beloved, Saskia van Uylenburgh. He is a recurring subject to Rembrandt.

Here, Rembrandt captures his son - probably a teenager - absorbed in his readings. His soft chiaroscuro illuminates Titus’s face giving him a focused expression.

This was painted during the time of Rembrandt’s 1656 bankruptcy which was a financially and emotionally devastating event for the artist.

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View of the North Transept of Westminster Abbey in London by Van Hoogstraten (1662-67)

A monumental painting of the interior of Westminster Abbey from Van Hoogstraten’s time in London.

He combines different genres into a single architectural focus and perspective.

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Inner Courtyard of the Vienna Hofburg in a Feigned Picture Frame by Van Hoogstraten (1652)

A trompe-l’oeil painting.

Van Hoogstraten blurs the line between the painted world and the viewer’s reality with a feigned frame.

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The Slippers by Van Hoogstraten (1658)

Outstanding. 

This was, apparently, once confused with a Pieter de Hooch.

A masterful doorkijkje (vista) of a Dutch interior.

A mysterious scene devoid of human figures - with slippers in the middle of the floor & a broom leaning against a wall - in which the viewer is trying to piece together what has taken place. 

In Dutch 17th-century art, discarded slippers were an erotic/amorous symbol, and so are keys (which are very conspicuously dangling). As Louvre DNP says:

Despite the absence of figures in this peaceful interior, a human - specifically female - presence is skillfully suggested by several details such as the typical 17th-century Dutch slippers that have been carelessly removed and left in the hallway, and the book that lies open on the table.

As the eye moves from one room to the next, it encounters a number of objects of varying significance, from the broom that leans against the wall to the painting in the background. The longer the viewer looks, the more he is drawn into this scene with its aura of mystery.

It’s also a nod to Gerard ter Borch’s painting, The Gallant Conversation, which is depicted on the wall of the back room. One of themes of that painting is courtship. This is the painting:

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The Portrait of Joris de Caullery by Rembrandt (1632)

This painting comes from San Francisco.

Rembrandt was 26 years old when he painted this portrait (same year as Anatomy Lesson of Dr. Nicolaes Tulp).

He had moved from Leiden to Amsterdam and was establishing his reputation as the finest portraitist. This was an age when portraits were no longer the preserve of the Royalty and Popes etc.

According to the San Francisco museum:

Joris de Caullery was serving as an officer in the city’s guard of armed infantrymen when he posed for Rembrandt. At the outset of his career in Amsterdam, the young artist met De Caullery while working on commissions from the Dutch chief magistrate’s court in The Hague.

Rembrandt captures the officer’s energy - the direct gaze, left hand confidently on hip, and casually gripping a musket. His signature chiaroscuro across the face gives a his face a vivid & fleshy quality, and a rather reddy nose. The self-assured pose of his subject.

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Portrait of a Woman by Rembrandt and workshop (1632)

See below

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Portrait of a Man by Rembrandt  (1632)

Very engaging expressions.

These two portraits are said to be pendant portraits - husband & wife.

The identity of the sitters is not known, easily the upper bourgeoisie.

The man is easily Rembrandt, but apropos the woman’s portrait:

The somewhat stiff and passive posture of the woman led the researchers involved in the Rembrandt Research Project to determine that this portrait was not an autograph work (by his own hand). Ferdinand Bol, who, however, only began working in Rembrandt’s studio after 1635, was proposed as the artist.

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Portrait of Sir Norton Knatchbull by Samuel van Hoogstraten (1667)

Excellent.

Sir Norton Knatchbull has an interesting biography as a biblical scholar and politician who sat in the House of Commons.

Recently sold to The Dodrechts Museum, it “makes clear the portrait painted in 1667 in London takes inspiration from both Van Dyck and Rembrandt (van Hoogstraten’s teacher)”. 

Thus, the detailed & character-filled realism of Rembrandt and the grand full-length manner of the English portraits style, of Sir Anthony van Dyck.

Knatchbull’s presence is both convincing and commanding.

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Portrait of the Preacher Eleazar Swalmius by Rembrandt (1637)

The preacher depicted was a minister for the Dutch Reformed Church in Amsterdam.

Swalmius’s portrait is beautiful. 

He has a kindly face with a warmth. The mastery of chiaroscuro means the preacher’s face and white ruff stand out from the darker background.

Rembrandt masterfully depicts the psychological hallmarks of his sitter.

“Rembrandt-Hoogstraten: Colour and Illusion” exhibition at the Kunsthistorisches - Part 1: Rembrandt as the teacher; Illusionistic experiments ✎

I was in Vienna in January 2025.

I was very excited to visit the Kunsthistorisches Museum to see its blockbuster exhibition Rembrandt-Hoogstraten: Colour and Illusion.

I have always loved Rembrandt and this exhibition showcased 57 works. There was a wealth of international loans by the master in Austria. 

Ultimately, I found it a beautiful and fascinating dialogue between the Dutch Golden Age master and one of his most successful and innovative students, Samuel van Hoogstraten (who achieved great success at the Habsburg court).

For me, it’s one of the highlight exhibitions of 2025.

Rating: ★★★★★ 5/5

Note: This is part 1 of the write-up. Two more parts to follow.

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Part 1: Rembrandt as the teacher

The first room introduces us to Rembrandt as teacher (as well as renowned painter, printmaker etc.). He began taking students in Leiden and continued until close to his death. Samuel van Hoogstraten was one of Rembrandt’s most successful students, starting his apprenticeship around 1642/43 at about age 15.

This room explores Van Hoogstraten’s early work which show stylistic and thematic similarities to Rembrandt’s (including creating convincing illusions).

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Self-portrait wearing a Hat and two Chains by Rembrandt (1642-3)

This is how the exhibition opens!

A magnificent self-portrait by Rembrandt. He paints himself courscating. 

Rembrandt captures himself in such splendor - beautiful gold chain & adorned with sumptuous fur. The light makes him glow and shine. I rather like the bulbous nose, slight wispy hair behind his ear, the subtle wrinkles in his the lowered neck.

This self-portrait was made during the time when he was Van Hoogstraten’s teacher. Rembrandt is famous for his many self-portraits - spanning his entire career. 

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Self-Portrait by Hoogstraten (1645)

Van Hoogstraten clearly emulates his master.

The powerful & contrastive use of light, and the central focus of the face.

Like Rembrandt, painted with aplomb - as a courtier with the traditional gold chain

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Self-portrait at a Window by Hoogstraten (1642-3)

I quite like this pen-and-brown ink self-portrait.

Trying to capture the fleeting expression and a sense of depth.

What makes this special is that Rembrandt, apparently, made 3 strokes of his pen to correct the outline of the right arm and shoulder.

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The Holy Family with a Curtain by Rembrandt (1646)

Interesting painting.

Early example of Rembrandt’s experiments with illusionist techniques.

The painted frame with the red curtain is Rembrandt’s pictorial contrivance. The frame is an illusionistic object. 

The fire warms and lights Mary and Baby Jesus. The bond is clear. Joseph is chopping wood in the background and is barely noticeable in the dark.

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St John the Baptist Preaching by Rembrandt (1634-5)

Van Hoogstraten (in his book) praised this particular painting of Rembrandt.

The powers of observation, the extraordinary use of light to focus attention, and compelling depiction of emotions in the crowds.

People in various states - hushing the kids, bored, raised eyebrows...

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Landscape with the Rest on the Flight to Egypt Rembrandt (1647)

Beautiful & moving.

I am reminded of Turner.

A wonderful exploration of light.

This nightscape is the Holy Family’s rest on their flight into Egypt.

Rembrandt’s lambent tones of heat and warmth of colours in fire over the canvass (esp. over the lakes untrammelled surface) creates a wonderful effect.

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Young Man Reading with Vanitas Still Life by Hoogstraten (1644)

Classic vanitas still life of the Golden Dutch Age.

The exhibition compares this one to Rembrandt’s The Holy Family with a Curtain (above).

It was probably made in the middle of his apprenticeship with Rembrandt. The illusionistic depiction of the paper, dramatic lighting, and muted colour palette point to the experience Van Hoogstraten gained during this period.

Painting by Van Hoogstraten — perhaps self-portrait or someone he knew?? Identity remains unknown.

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The Adoration of the Shepherds by Hoogstraten (1647)

Charming beautiful painting in which Van Hoogstraten uses a similar palette and light effects to Rembrandt. The light seems to emanate from Jesus.

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Part 2: Illusionistic experiments

The next room in the exhibition focuses on Rembrandt as a master of convincing illusions. 

From 1639 onwards, he increasingly experimented with illusionistic effects which warp the boundary between the pictorial space and the viewer’s space — e.g. including barriers, and window and door openings in the foreground of his paintings, which emphasise the presence of the painted figure. He also creates a convincing sense of depth to an otherwise flat space. 

Rembrandt’s illusionistic skills appear to have had a lasting influence on his Van Hoogstraten’s work. The ambitious pupil emulated his teacher in this area (even aiming to outshine him).

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A Woman in Bed (Sarah Awaiting Tobias) by Rembrandt (1647)

A young woman pulls the curtain to the side and seems to gaze at a scene in front of the picture. Her shoulder seems to protrude.

Supposed to represent the biblical story of Sarah waiting for her bridegroom Tobias, on their wedding night. Though Rembrandt leaves room for other interpretations. 

This must have had a striking effect in a home, by candlelight.

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Old Man at a Window by Hoogstraten (1653)

I really love this. Outstanding painting. 

The old man poking his head out of a window and gazing at us. Seems to have a distant look in his eyes.

Van Hoogstraten meticulously portrays the various materials - his looping wrinkles, fine hairs of his beard, soft fur of his hat, hard limestone that frames the window, the glass’s translucency. 

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Girl in a Picture Frame by Rembrandt (1641)

Wow!

Incredible.

It feels like the boundary between the painted world and our reality vanishes!

This girl - in vivid theatrical costume - leans slightly forwards. Her hands touching the painted frame and casting shadows and reflections on it. 

This effective illusionism of Rembrandt had a lasting influence on Van Hoogstraten - as the exhibition makes clear in comparison with his painting below Young Woman at an Open Half-Door.

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Young Woman at an Open Half-Door by Hoogstraten (1645)

Really wonderful.  This painting was inspired by Rembrandt’s illusionism. (And they were side-by-side)

This young woman - looking suspiciously to her side - seems to lean over an open half-door into the viewers’ space.

Van Hoogstraten seems to emulate Rembrandt's protruding fingers over the artificial frame.

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Girl at a Window, “The Kitchen Maid” by Rembrandt (1645)

Love it.

Incredible painting. The girl’s direct gaze is very captivating & charming.

I've seen this painting by Rembrandt before in London, and it has so much charm. Makes you smile. The subdued colours against the shining subject and the shadowing creates a vibrancy to the illusionism. The red cheeks and the white-reflecting tip of her nose.

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Agatha Bas by Rembrandt (1641)

Another wow. Just incredible.

This lady was Agatha Bas. She and her husband had their portraits painted by Rembrandt, as they lived opposite his workshop.

Really very elegantly dressed and with a keen & penetrating gaze at us. She seems to loom out of the darkness and towards us. (As does her fan and left thumb).

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Feigned Letter-Rack Painting by Van Hoogstraten (1667-8)

Terrific illusionism and depth captured by colour variation.

Van Hoogstraten painted this Dutch tradition. While in England, he painted this deceptive array of realistic everyday objects and personal items fixed together with red leather straps against a black background.

There are 21 objects - including comb, letter, scissors, maps, medallion, etc.

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Trompe l’oeil by Van Hoogstraten (1655)

Wow, again.

Van Hoogstraten's illusionistic depiction of ordinary everyday objects is incredible and powerful. The towel looks like you could reach out to take it off the hook. The painting of the wall panelling is so effective too.

This painting has no frame either. So it enhances the illusionism. 

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EXTRA: Me at the gallery, and the central hall at the Kunsthistorisches.

A Franciscan Friar by Rembrandt (1657-1661) ✎

Happy birthday Rembrandt. Born on 15th July. See my most recent post on him. 

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A Franciscan Friar by Rembrandt (1657-1661)

Came across an addition to the Rembrandts the other day at the NG.

Painted in about 1655, it is a study of a Franciscan friar, of the Order of Saint Francis of Assisi.

Rembrandt is really gifted at capturing vulnerability and fragility. A frailty in the distant gaze and face, slight melancholy. Some facial disability, even blindness?

Beautiful.

Rembrandt at the National Gallery ✎

This blog post is a write up of Room 44 at the National Gallery which is an intimate space with some really exquisite & captivating portraits by Rembrandt. Feel free to see my other write ups. I love going to galleries and writing about art.

Rembrandt van Rijn is one of the great masters. His visual art is utterly moving and captivating. I also love his family name “Van Rijn” refers to the river Rhine which flowed through his birthplace Leiden. Beautiful name.

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Rembrandt’s Self Portrait (aged 34) by Rembrandt (1640)

Beautiful. Partially-lit in a darkened alcove makes for a very captivating and fascinating portrait.

I believe this was influenced by Titian — or perhaps, the other way round?

There is a certain dignified gravity in his manner. Rembrandt is here clearly wealthy, successful and confident. His use of light reminds me of Caravaggio and the Italian Baroque paintings.

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Portrait of Aechje Claesdr by Rembrandt (1634)

Wow.

I think this was Rembrandt’s grandmother. It is so lovingly done and moving.

The subject evokes a fragile and tender feeling. Her elegant and delicately-pleated white ruffs balance her compelling face.

I think her unmet gaze, furrowed eyebrows, pursed lips, heavy eyes, bulbous nose create a melancholic face, even forlorn. Makes me feel protective and, as though, I want to embrace her warmly.

Rembrandt paints the deeper character of his subjects, and skillfully depicts the effects of age with some tenderness.

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Saskia van Uylenburgh in Arcadian Costume by Rembrandt (1635)

Rembrandt made this portrait of his wife Saskia in the year after their marriage. She ended up dying at the age of just 30!

She is depicted as Flora, the Roman goddess of spring.

Here, she appears with an armful of flowers in a gleaming opulent dress. She appears pregnant; and indeed she was. Their first child, Rombertus, named after her father died at birth.

I think it’s very sweet.

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Portrait of Philips Lucasz by Rembrandt (1635)

Very engrossing and beautifully painted.

Even the unruffled hair seems rather elegant and refined as his lace collars and the golden chain.

Philips Lucaszoon was an important official with the Dutch East India Company.

Rembrandt painted this portrait shortly before Philips left for Batavia (Jakarta, Indonesia), where he died some years later.

If you notice, there is a thick and rather strange “un-contoured” line between his lips. According to the NG:

“Although both are signed by Rembrandt himself, there is a clumsiness to the execution of this one which suggests that one or more of his assistants may have had a hand in it. The thick black line representing the shadow between the sitter’s lips is quite rudimentary, for example. But it’s also possible that Rembrandt was forced to finish the painting quickly, and that what we see here are simply signs of overhasty work.”

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A Man seated reading at a Table in a Lofty Room by Rembrandt (1628-1630)

This painting is considered to be the work of an early follower.

The details and vivid contrasts of light and shadow imitate Rembrandt’s style from his early years, when he worked in his native Leiden (1625-31).

In the detail, the cracks and shadows in the walls ornately & meticulously painted.

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Anna and the Blind Tobit by Rembrandt (1630)

This is the story of Anna, her husband and their son Tobias is told in the Book of Tobit.

Light envelops a room through an open window. God tested their faith by reducing them to poverty and blinding Tobit.

The light pours onto Tobit, the old man. He sits facing the room, partially-lit, hands clasped, head lowered, in a meditative pose. He sits near his wife Anna, winding wool.

It’s beautiful and quite moving.

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Ecce Homo by Rembrandt (1634)

Ecce homo is latin for “behold the man” – the words Pontius Pilate used to present Jesus of Nazareth to a hostile crowd ahead of his crucifixion (John 19:5).

Pilate — wearing an exotic turban striking a sagacious bearing — rises to his feet; while the Sanhardians are depicted by Rembrandt as being distorted & ugly caricatures clamouring towards Pilate. Presumably to kill Jesus. This is the Pauline gospels of the NT. This would be radically different from the Jerusalem sect of the Jesus followers under St James. Also, a monument of Tiberius on the right. Also, interesting that the warm shining light focuses not on Christ and his crown of thorns (who turns his sight away) — but on the Jewish priests.

The painting evokes the chaos and mob.

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Portrait of Margaretha de Geer by Rembrandt (1661)

Margaretha de Geer was the wife of a wealthy Dutch merchant (Jacob Trip portrait below).

Her softly wrinkled flesh is captured with solemnity and sensitivity. Her millstone ruff seems to radiate. Mind you, she does seem somewhat aloof.

Amazing how Rembrandt captures the languid slightly-sunken eyes, narrow lips, patches of darker reddish hue on her cheeks.

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Portrait of Hendrickje Stoffels by Rembrandt (mid-1650s)

This is quite interesting, and intimately beautiful.

It seems Hendrickje Stoffels may have been Rembrandt’s mistress - after the death of Saskia. Though the National Gallery says this isn’t absolutely clear. She entered the household as a nurse to his young son Titus.

Expensive pearl earrings, golden chains, arm resting on a gilded chair, luxurious white fur. She is painted with magnificence.

There is a hint of a breast and it’s suggestive of a romantic connection. There is a sweet tenderness to her.

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A Woman bathing in a Stream by Rembrandt (1654)

This makes me smile. It’s tender and intimate; but also quite silly.

This lady wades into a small pool, robes behind her, almost up to her knees in a stream. Smilingly, she lifts her shift in the pleasure of the cool water against her legs.

According to the gallery:

“Although it’s not certain, this woman may be Hendrickje Stoffels, who came into Rembrandt’s household to look after his infant son after his first wife, Saskia, died. Hendrickje and Rembrandt became lovers but were unable to marry. In the year this picture was painted, Hendrickje endured public humiliation because she was pregnant outside of marriage. Perhaps the painting was a homage to her strength and loyalty.”

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Portrait of Margaretha de Geer by Rembrandt (1661)

Amazing.

Another Margaretha de Geer. She was obviously wealthy lady alongside her husband Jacob, Trips the merchant family.

Margaretha here seems to exert a force of character, will, and intelligence. I like the frontal pose, phlegmatic and resolute.

Can’t believe how enormous those millstone collars were!

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Portrait of Jacob Trip by Rembrandt (1661)

Jacob Trip was one of the richest men in Holland.

It seems to me Jacob is painted with respect and dignity. He is given august and stately loose-flowing gowns and vestments. He seems to occupy an ornate ceremonial & throne-like chair. Floating almost. The rod, lightly clasped in his hand, as a symbol of authority.

The face is self-assured man, stolid, philosophical, distinguished. While his frailty is quite clear, Rembrandt doesn’t allow any fragility to overtake his solemnity.

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An Old Man in an Armchair by Rembrandt (1650s)

God. I love this.

There is something very moving in Rembrandt’s depictions of the elderly and senescent. Perhaps, part of our natural affection to our grandparents?

I find this old-timer’s deep contemplation — and slight anxiety or restlessness — quite moving and engrossing. There is an unease to this painting, and the lambent light adds to the effect. He seems slumped on his chair, one hand gripping the wooden arm and the other lightly massaging his temple, his eyes cast downwards distantly, and some of his torso caught under a shadow. The furrowed head and thin side-tufts of hair add to the effect.

Pretty amazing.

Bold, intense, heavy brushstrokes.

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A Seated Man with a Stick by Rembrandt (1606-1669)

Dramatic painting.

Lit on one-side, walking-stick in hand, and a haughty gaze. He seems to have a raised eyebrow, suggesting impatience? It’s an interesting face on a shimmering luxurious aureate silk garments.

A very imposing figure.

But not Rembrandt himself it seems. According to the National Gallery:

“X-ray images reveal that the figure has been painted over a rather roughly sketched image of the Crucifixion, suggesting that this was a piece of canvas on which a previous composition had been tried but then abandoned, before being re-used for this painting.”

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An Elderly Man as Saint Paul by Rembrandt

Love it.

There is a deep introspective, reflective and sereneness to St Paul. Love the red chapeau (almost falling off!!) & wisps of hair to the sides. Hands folded, and gazing into the distance ... this also makes for a striking painting.

Apparently, painting is a portrait of some contemporary sitter in the guise of Paul.

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Portrait of Frederick Rihel on Horseback by Rembrandt (1663)

I might have to revisit this painting. It is huge & I struggled to capture it, with the light shining behind me in the museum.

The subject Frederick Rihel was a wealthy Amsterdam businessman. It is supposed to commemorates his part in welcoming William of Orange into Amsterdam in 1660.

I do like the vividly yellow jerkin, gloves and shimmering sleeves and plumed hat against a rather gloomy background. But it does rather lack in personalities of the above portraits; and the horse doesn’t seem to have potence and energy of a classic Rembrandt?