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AIDMIA_.34.19}~
OTYPaintings}~
CLG}~
CLTOil paintings}~
CLSAAT}~
OTG}~
OTNLucretia}~
OPP1}~
METH. 43-3/8 x W. 36-1/3 in. overall}~
MEG}~
MCMoverall}~
MEDheight}~
MDV43.375}~
MDUin.}~
MEG}~
MCMoverall}~
MEDwidth}~
MDV36.33}~
MDUin.}~
OMG}~
OMDoil on canvas}~
OMToil painting}~
OMMoil}~
OMScanvas}~
OINSIGNATURE and DATE}~
CRG}~
CIDULAN: 16023}~
CRTRembrandt van Rijn}~
CRNRembrandt van Rijn}~
CRCDutch}~
CDT1606 - 1669}~
CBD1606}~
CDD1669}~
CGNM}~
CRRpainter}~
OCG}~
OCT1666}~
OCS1666}~
OCE1666}~
SUG}~
CXG}~
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>}~
OEHDetroit (1930), No. 77, illus.}~
OEHChicago, <i>Rembrandt and His Circle</i>, (1936), No.
8, illus.}~
OEHWorcester (1936), No. 10, illus.}~
OEHCleveland, Cleveland Museum of Art, <i>The Twentieth Anniversary
Exhibition</i>, (1936), No.178.}~
OEHChicago, <i>Great Dutch Masters</i>, (1942), No. 34,
illus.}~
OEHSt. Louis, City Art Museum, <i>Forty Masterpieces</i>,
(1947) p. 98, illus.}~
OEHLos Angeles (1947), No. XXXI, illus.}~
OEHNew York, <i>Wildenstein & Co.</i>, (1950), No. 28, illus.}~
OEHBuffalo, New York, Albright Art Gallery, <i>Painters' Painters</i>,
(1954), No. 9, illus.}~
OEHMinneapolis, The Minneapolis Institute of Arts, <i>Fortieth
Anniversary Exhibition of Forty Masterpieces</i>, (1955), No.
8}~
OEHRotterdam/Amsterdam, (1956), No. 98.}~
OEHNew York, M. Knoedler & Co., <i>Paintings and Sculpture from
the Minneapolis Institute of Arts</i>, (1957), No. 4, illus.}~
OEHChicago, The Art Institute of Chicago, <i>Rembrandt After Three
Hundred Years</i>, (1969); subsequently The Minneapolis Institute
of Arts (1969-1970), and The Detroit Institute of Arts (1970), No. 21,
illus. p. 107.}~
OEHWashington D.C., National Gallery of Art, <i>Rembrandt's Lucretias</i>,
22 Sept. 1991 - 5 Jan. 1992; Minneapolis, The Minneapolis Institute
of Arts, 18 Jan. - 3 May 1992.}~
OOG}~
OONThe Minneapolis Institute of Arts}~
OOPMinneapolis, Minnesota, USA}~
OOA34.19}~
OOCThe William Hood Dunwoody Fund}~
OPORadziwill Collection (according to Hofstede de Groot, VI, 1916, No.
220a)}~
OPOSale, John Calvert Wombwell, London (Christie's), June 4, 1853, No.
8}~
OPOSale, William W. Bourdon, Newcastle on Tyne, London (Christie's) June
28, 1862, No. 137. (bought in)}~
OPOJ. Purvis Carter, London and Villa Torrigiani, Quinto, Florence (after
1877)}~
OPOHenry Reinhardt & Co., New York (ca. 1926)}~
OPOHerschel V. Jones, Minneapolis (ca. 1927)}~
ORG}~
ORSPermission for educational use only granted by The Minneapolis Institute
of Arts}~
ORLhttp://www.artsmia.org/restrictions.html}~
RWG}~
RWLMIA_.34.19}~
RIG}~
RIPY}~
RIDFull view}~
RIRHasFormat}~
RILMIA_.1413c.tif}~
RMG}~
RMDMuseum Director and CEO, Evan Maurer, leads visitors through a personal
tour of some of the most popular works in the collection.}~
RMRReferences}~
RMLMIA_.3419.ram}~
DCG}~
DCBSoth: MIA Photo/Scanning Services}~
DCD2/24/98}~
AVD20000630}~
AVV1.2}~
ALY1998}~
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