The Blindness of Tobit: The Large Plate, Rembrandt van Rijn (Dutch, 1606–1669)

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Credit
Severance and Greta Millikin Purchase Fund
Licence
CC0-1.0
Evidence
openaccess-api.clevelandart.org: share_license_status=CC0 on artwork 162193 (read 2026-08-27)
Record
https://clevelandart.org/art/2002.10
The Blindness of Tobit: The Large Plate, Rembrandt van Rijn (Dutch, 1606–1669)
The Blindness of Tobit: The Large Plate — Rembrandt van Rijn (Dutch, 1606–1669)1651

Also by Rembrandt van Rijn (Dutch, 1606–1669)

8
The Strolling Musicians, Rembrandt van Rijn (Dutch, 1606–1669)
The Strolling MusiciansRembrandt van Rijn (Dutch, 1606–1669)c. 1635Cleveland Museum of Art
Rembrandt and His Wife Saskia, Rembrandt van Rijn (Dutch, 1606–1669)
Rembrandt and His Wife SaskiaRembrandt van Rijn (Dutch, 1606–1669)1636Cleveland Museum of Art
Christ Preaching ('La Petite Tombe'), Rembrandt van Rijn (Dutch, 1606–1669)
Christ Preaching ('La Petite Tombe')Rembrandt van Rijn (Dutch, 1606–1669)c. 1652Cleveland Museum of Art
Self-Portrait Drawing at a Window, Rembrandt van Rijn (Dutch, 1606–1669)
Self-Portrait Drawing at a WindowRembrandt van Rijn (Dutch, 1606–1669)1648Cleveland Museum of Art
The Presentation in the Temple, Rembrandt van Rijn (Dutch, 1606–1669)
The Presentation in the TempleRembrandt van Rijn (Dutch, 1606–1669)c. 1654Cleveland Museum of Art
Shah Jahan, Rembrandt van Rijn (Dutch, 1606–1669)
Shah JahanRembrandt van Rijn (Dutch, 1606–1669)c. 1656–61Cleveland Museum of Art
St. Francis Beneath a Tree Praying, Rembrandt van Rijn (Dutch, 1606–1669)
St. Francis Beneath a Tree PrayingRembrandt van Rijn (Dutch, 1606–1669)1657Cleveland Museum of Art
Woman Bathing Her Feet in a Brook, Rembrandt van Rijn (Dutch, 1606–1669)
Woman Bathing Her Feet in a BrookRembrandt van Rijn (Dutch, 1606–1669)1658Cleveland Museum of Art

Within fifty years of 1651

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Also at Cleveland Museum of Art

596
Relief of Nyankhnesut Seated, Unknown
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Talatat: Portrait of Nefertiti, Unknown
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Talatat: Portrait of Nefertiti, Unknown
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Talatat: Nefertiti Offers to the Aten, Unknown
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Tomb Relief of the Chief Physician Amenhotep and Family, Unknown
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Stele of the High Priest of Ptah, Shedsunefertem, Unknown
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Similar picturesFound by visual likeness

8 pictures

Visual resemblances suggested by the model. A match does not establish a shared subject or historical connection.

The Prophet Amos, Baccio Baldini
The Prophet AmosBaccio Baldinic. 1470The Art Institute of Chicago
0.88
St. Jerome Seated near a Pollard Willow, Albrecht Dürer (German, 1471–1528)
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0.86
A Praying Monk, Unknown
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0.86
The Presentation in the Temple, Rembrandt van Rijn (Dutch, 1606–1669)
The Presentation in the TempleRembrandt van Rijn (Dutch, 1606–1669)c. 1654Cleveland Museum of Art
0.86
The Strolling Musicians, Rembrandt van Rijn (Dutch, 1606–1669)
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0.86
[Adoration of the Magi] / AD [monogram]., Dürer, Albrecht, 1471-1528, artist
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0.86
St. Francis Beneath a Tree Praying, Rembrandt van Rijn (Dutch, 1606–1669)
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Three Oriental Figures (Jacob and Laban?), Rembrandt van Rijn
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In the stacks

Not yet checked2

Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

  1. Seven Discourses on Art · Joshua, Sir Reynolds

    By this mode of reasoning Rembrandt has a higher place than Raffaelle. But a very little reflection will serve to show us that these particularities cannot be nature: for how can that be the nature of man, in which no two individuals are the same? It plainly appears that as a work is conducted under the influence of general ideas or partial it is principally to be considered as the effect of a good or a bad taste. As beauty therefore does not consist in taking what lies immediately before
    0.69

  2. principles of art history · heinrich wolfflin

    PAINTING 95 Rembrandt The great Ecce Homo (etching of 1650) is an analogous case. As is known, the schema of the composition dates back to a Cinquecentist, Lucas van Leyden. A house wall and a terrace before it, seen frontally; people who have taken up their stand side by side in rows on and in front of the terrace—how are we to get a baroque picture out of all that? We learn with Rembrandt that it is not the subject but the treatment which matters. While Lucas van Leyden exhausts
    0.68

Next

Made in the seventeenth century, like The Blindness of Tobit: The Large Plate.

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