Landscape with an Obelisk, Rembrandt Harmensz van Rijn, Dutch, 1606–1669

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Credit
Given by Leo Wallerstein
Licence
CC0-1.0
Evidence
api.si.edu openaccess v1.0: content.descriptiveNonRepeating.metadata_usage.access=CC0 on record chndm_1949-100-11 (read 2026-09-01)
Record
https://collection.cooperhewitt.org/view/objects/asitem/id/99643
Landscape with an Obelisk, Rembrandt Harmensz van Rijn, Dutch, 1606–1669
Landscape with an Obelisk — Rembrandt Harmensz van Rijn, Dutch, 1606–1669ca. 1650

Also by Rembrandt Harmensz van Rijn, Dutch, 1606–1669

1
Christ Preaching (The Hundred Guilder Print), Rembrandt Harmensz van Rijn, Dutch, 1606–1669
Christ Preaching (The Hundred Guilder Print)Rembrandt Harmensz van Rijn, Dutch, 1606–1669ca. 1649Cooper Hewitt, Smithsonian Design Museum

Within fifty years of ca. 1650

1195
Guard Drawing His Sword, Raphael
Guard Drawing His SwordRaphaeln.d.The Art Institute of Chicago
Hercules and the Nemean Lion, Unknown
Hercules and the Nemean LionUnknownearly 17th centuryMetropolitan Museum of Art, New York, NY
Design for Escutcheon, with Skulls, Unknown Genoese
Design for Escutcheon, with SkullsUnknown Genoesen.d.The Art Institute of Chicago
Panel Emblematical of the Arts, French
Panel Emblematical of the ArtsFrench1600–1700The Art Institute of Chicago
Hat, Unknown
HatUnknown17th centuryMetropolitan Museum of Art, New York, NY
Two Men Tying a Bundle (recto), Anonymous
Two Men Tying a Bundle (recto)Anonymous1600sCleveland Museum of Art
Five Figure Studies (verso), Anonymous
Five Figure Studies (verso)Anonymous1600sCleveland Museum of Art
Sleeping Youth (verso), Illustration from a Single Page Manuscript, Riza-yi Abbasi (Iranian)
Sleeping Youth (verso), Illustration from a Single Page ManuscriptRiza-yi Abbasi (Iranian)early 1600sCleveland Museum of Art

Also at Cooper Hewitt, Smithsonian Design Museum

9400
Tiraz fragment, Unknown
Tiraz fragmentUnknownca. 1000Cooper Hewitt, Smithsonian Design Museum
Textile, Unknown
TextileUnknown700–1000Cooper Hewitt, Smithsonian Design Museum
Textile, Unknown
TextileUnknown500–1000Cooper Hewitt, Smithsonian Design Museum
Textile, Unknown
TextileUnknown1000–1450Cooper Hewitt, Smithsonian Design Museum
Vessel, Unknown
VesselUnknown500–1000Cooper Hewitt, Smithsonian Design Museum
Vessel, Unknown
VesselUnknown500–1000Cooper Hewitt, Smithsonian Design Museum
Textile, Unknown
TextileUnknown1100–1400Cooper Hewitt, Smithsonian Design Museum
Textile, Unknown
TextileUnknown1100–1500Cooper Hewitt, Smithsonian Design Museum

Similar picturesFound by visual likeness

8 pictures

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

Dunstanburgh Castle, from "Liber Studiorum," part III, James Mallord William Turner, British, 1775–1851
Dunstanburgh Castle, from "Liber Studiorum," part IIIJames Mallord William Turner, British, 1775–18511808Cooper Hewitt, Smithsonian Design Museum
0.89
Landscape with Mound, Charles Nicolas Ransonnette, French, 1793 - 1877
Landscape with MoundCharles Nicolas Ransonnette, French, 1793 - 18771793–1877Cooper Hewitt, Smithsonian Design Museum
0.89
Old Farmhouses, Eugène Edouard Soulès, French, 1811–1876
Old FarmhousesEugène Edouard Soulès, French, 1811–18761833Cooper Hewitt, Smithsonian Design Museum
0.88
Landscape with Branch, Charles Nicolas Ransonnette, French, 1793 - 1877
Landscape with BranchCharles Nicolas Ransonnette, French, 1793 - 18771793–1877Cooper Hewitt, Smithsonian Design Museum
0.87
Landscape View, Unknown
Landscape ViewUnknown1750–1825Cooper Hewitt, Smithsonian Design Museum
0.87
Villefranche, Arnold William Brunner, American, 1857–1925
VillefrancheArnold William Brunner, American, 1857–1925ca. 1892Cooper Hewitt, Smithsonian Design Museum
0.87
Print, Jean-Baptiste Pillement, French, 1728–1808
PrintJean-Baptiste Pillement, French, 1728–1808Cooper Hewitt, Smithsonian Design Museum
0.87
Tannery for Leupps Picture, Daniel Huntington, American, 1816–1906
Tannery for Leupps PictureDaniel Huntington, American, 1816–19061841Cooper Hewitt, Smithsonian Design Museum
0.87

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 Landscape with an Obelisk.

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