spacer spacer spacer spacer spacer
AMICO Logo Art Museum Image Consortium: enabling educational use of museum multimedia
spacer
Home
spacer
JoinBenefitsMembersAMICO LibraryContentsTrialSubscribeBenefitsSubscribersUseSchoolsUniversitiesMuseumsDistributespacerAboutDocumentsSearchContactspacer
spacer

AMICO Sample Records
Catalog Record in Output Format

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}~
|

Note that the line breaks appearing at the end of each field are optional. You may want to include them for legibility.

Return to Sample Record

     


In June of 2005, the members of the Art Museum Image Consortium voted to dissolve their collaboration. This site remains online for archival reasons.