Rembrandt and the Face of Jesus

Rembrandt and the Face of Jesus
For as long as I’ve been visiting the Philadelphia Museum of Art there has been a small painting called “Head of Christ” (image above, top) in the museum’s John G. Johnson collection of European Art (larger but somewhat oversaturated version here).

It is a small but strikingly beautiful painting, 14 x 12 inches (36 x 31 cm) showing a head and upper torso of a plainly garbed figure, clothing almost fading into the unadorned background, but focusing on a face, obviously that of a real person and not constructed from imagination, painted with exquisite skill.

For a long time the painting was not featured prominently, often tucked away in the corner of a gallery in a modest frame, presumably because its attribution was somewhat in question — at times to “Studio of Rembrandt”, later “Attributed to Rembrandt”. It’s only recently (and I’m not sure how recently) that the attribution has changed to “Rembrandt Harmensz. van Rijn”, making it the only painting directly attributed to Rembrandt in the museum’s collection.

Even when the attribution was in question, many visitors, myself included, just loved this painting. If it isn’t a Rembrandt, my thought was, it’s the next best thing, a work painted with such skill as to be considered for attribution to the master, and one with an extraordinary subtlety, economy and painterly finesse. The fact that it was often tucked away in an unassuming corner just made it seem that much more of a hidden gem.

Though I haven’t heard it confirmed, it’s my guess that it was the change in attribution that led the museum, in cooperation with the Musée du Louve in Paris and the Detroit Institute of Arts, to mount a new exhibition now on display here in Philadelphia titled Rembrandt and the Face of Jesus.

The exhibition is essentially built around a core display of this painting and six other similar bust-length portraits of comparable size and composition, some attributed directly to Rembrandt, others to the “Studio of”, but all shedding light on and enriching the experience of appreciating the others (images above, third, fourth and fifth down, with detail 6th down).

These have been borrowed from museums in Europe and the US, but the Philadelphia painting is the centerpiece, and the most striking of the group. I was also particularly impressed with this one (image above fourth and fifth down).

Expanding out from there, the exhibition is filled out with paintings, etchings and drawings, both by the master, his students and other artists who painted related portraits of Jesus, into an exhibition of 40 some works. It explores the changing interpretation by Rembrandt and others of the way Jesus was portrayed, something that had been bound by certain conventions, many of which Rembrandt broke by using live models and portraying Jesus as a real individual instead of an idealized icon.

The exhibit highlights this with some earlier examples by other artists but quickly moves into Rembrandt’s own groundbreaking interpretations. Though the exhibition is focused on this theme, and is far from a Rembrandt retrospective, it contains several striking works.

The Louvre contributes its wonderful painting of the the Supper at Emmaus (above, bottom two images). The tablecloth alone in this work struck me as a capsule defense of Rembrandt as one of history’s greatest painters. The reproduction from the Louvre feature on the exhibit, though not bad, still doesn’t to it justice.

Rembrandt - The Hundred Guilder Print
There are also some wonderful examples of Rembrandt drawings (including this nimble sketch of Da Vinci’s Last Supper) and etchings in the show. Among the latter are two versions of Rembrandt’s famous etching “Jesus Healing the Sick”, commonly known as “The Hundred Guilder Print” for the extraordinary price it commanded in Rembrandt’s day. Surely one of the finest and most important etchings in Western art, this print exists in at least a hundred versions.

Not only can the individual prints (or “pulls”) from the same etching plate vary between “states” (versions of the plate that may have had lines added or darkened by the artist over time), but printmakers (in particular Rembrandt) can create a variety of effects in the way and degree to which ink is wiped from the plate before running it through the press.

The exhibition has two versions of the print on display, a darker one in which the foreground is more completely in shadow and the figures are more dramatically revealed in Rembrandt’s mastery of chiaroscuro, and a lighter, more delicate version, which I prefer. But the real treat is getting to compare the two.

Unfortunately, I don’t have crisp image of the latter; you can see it briefly in the video that runs in a small room in the exhibition (online here, scroll down) that demonstrates the process, along with the difference between etching and drypoint.

In addition to that video, the PMA has a few features on their site with work from the exhibition (though not nearly enough). On this page there are two slideshows, and another two here. The slideshow under “Breaking with Tradition” on the latter page shows eight of the heads of Christ that form the central focus of the exhibition.

The Louvre’s feature on the exhibit is distinctly better and includes many high resolution images of works from the show (though the images of the paintings tend to be a bit dark and oversaturated).

Rembrandt and the Face of Jesus, having already been on display at the Louvre earlier this year, is now on view at the Philadelphia Museum of Art until October 30, 2011 (requires scheduled tickets); it then moves to the Detroit Institute of Arts, where it will be on display from November 20, 2011 to February 12, 2012.

It seems fitting that Rembrandt, so often fascinated with the commonplace and common people in his personal drawings, should be the one to bring the touch of reality to the face of Jesus.

8 Replies to “Rembrandt and the Face of Jesus”

  1. Charley, first of all I would like to say that I really appreciate the work that you put into this site. It has been a great resource and inspiration to me. Secondly, I am from Detroit and I must say that when I strolled into the Detroit Institute of Arts last month I was greatly disappointed to see the portrait of Christ missing and replaced with a sign announcing that it was on tour. Disappointed enough to say “OH NO!” out loud when I strolled into the room. My sentiments toward these paintings by Rembrandt are very similar to the way you described yours.Even though art school offered free entry to the museum whenever I wanted, I would not make a trip without seeing that painting. I love Rembrandts authenticity with the use of a model and it immediately stands out to me above other representations of Christ that I have seen. There is something about that expression…(4th down from the top of this post.) I will be happy when it returns, but in the mean time I’m glad others will get to see it in person. Perhaps they will identify with the subject in a way they have not before…

    1. Thanks, Joel.

      I agree, it’s a wonderful painting. (For the benefit of other readers, large image here.)

      I think you’ll find the temporary absence worth it when the exhibition arrives in Detroit.

  2. Thank you so much for your work and specially for this post.
    Since i found this blog my world has grown larger and larger.

    I totally agree this is a wonderful painting. The work of Rembrandt is such a delight for the eyes and heart.
    And please keep up the mix between old masters and unknown talents; between oil painting and modern illustration.

    greetings from berlin

  3. Does anyone know where this exhibition goes after Detroit? Any chance of it coming anywhere on the West Coast? And, yes, thanks for this post! Sondra

  4. Many years ago I fell in love with Rembrandt’s Head of Christ at the Fogg in Cambridge. Somehow Rembrandt, like no other artist that I’m aware of, allows us to witness through these works not just a real person, but one who lovingly contains everything we believe and want Jesus to be.

    I hope I get to see the other paintings.

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