A Woman Holding a Pink — Rembrandt van Rijn, 1656

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Credit: Andrew W. Mellon Collection
Licence: CC0-1.0
Evidence: NationalGalleryOfArt/opendata: object 82 has an open-access image (published_images.csv, openaccess=1, uuid 9ceabc07-1d61-46f4-bf5c-43635552f2d9); NGA's open data is CC0 (read 2026-08-27)
Record: https://www.nga.gov/collection/art-object-page.82.html

1136

2 pictures

Other makers only

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

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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
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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
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Rembrandt van Rijn made A Woman Holding a Pink, and made these too.

Made in the seventeenth century, like A Woman Holding a Pink.