Study of a Woman in a White Cap

ca. 1640

Rembrandt van Rijn
(Leiden 1606 – 1669 Amsterdam)oil on panel
47.3 x 39 cm
RR-101
Currently on view at: The National Museum ofChina, Beijing© 2017 The Leiden Collection

Study of a Woman in a White Cap
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How To Cite
DeWitt, David. "Study of a Woman in a White Cap." In The Leiden Collection Catalogue. Edited by Arthur K.
Wheelock Jr. New York, 2017.
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Study of a Woman in a White Cap
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This moving profile depiction of a mature woman wearing a white cap

Comparative Figuresoccupies an unusual place within Rembrandt van Rijn’s painted oeuvre.
Although clearly representing a specific individual, the master seems not
to have conceived this painting as a formal portrait; instead, the woman’s
focused gaze and raised eyebrows make it appear as though she has
been plucked from the stream of her daily responsibilities. Moreover, herflat plain collar identifies her as a servant who would have occupied asocial position far beneath those who could afford to sit for Rembrandt
around 1640, when he executed this work. Rembrandt seems to haveconcerned himself here primarily in determining how the effects of direct
and reflected light affect the characterization of the figure in such a study.
Light strikes the woman’s head from behind while reflected lightilluminates her face. Rembrandt enhanced these light effects through his
different levels of finish, ranging from fully built-up paint on her cap,

Fig 1. Study of a Woman in a
White Cap, RR-101, before
restoration (photograph courtesyof Martin Bijl)

forehead and cheek to the more thinly and loosely executed shaded areas.
Throughout much of its history, this work had a different appearance. By
the mid-nineteenth century, several areas of the painting had beenreworked in an effort to recast it as a formal portrait (fig 1). The plain collar
had been painted out in a decisive manner by a later hand: an intervening
layer of black was used to ensure it was covered completely before a more
stylish fur collar was painted in its place. Notably, however, the oorijzer, or“ear iron,” was left fully visible. This metal band was fitted inside thebonnet to hold it in place around the head and over the ear, and was
normally hidden behind the earflap of the bonnet. The fact that this metal
band was left visible when the repainting was done suggests that its
function was not recognized and that it was believed to be characteristic ofnormal dress.

Fig 2. Philips Koninck, The
Young Seamstress, 1671, oil oncanvas, 25.5 × 20 cm, The State
Hermitage Museum, St.
Petersburg, inv. 628

When this painting first entered the literature (in its altered state), it was
included in the master’s oeuvre without any reservations. John Smith was
the first to cite it in 1836,[1] and his positive assessment was subsequently
reaffirmed in the early twentieth century by Cornelis Hofstede de Groot,
Max Friedländer, Hermann Voss, and Abraham Bredius.[2] Wilhelm
Valentiner was particularly vigorous in his support in publications of 1921,
1930, and 1931.[3] A change in judgment occurred in 1936, when
Abraham Bredius abandoned his earlier position and omitted the panel
from his catalogue of Rembrandt’s paintings.[4] No scholar subsequently
challenged this sidelining of the painting until Ernst van de Wetering’s

Fig 3. Rembrandt van Rijn,
Portrait of the Mennonite
Preacher Cornelis Claesz Ansloand His Wife Aeltje Gerritsdr
Schouten, 1641, oil on canvas,
176.5 × 206.9 cm, Staatliche© 2017 The Leiden Collection

Study of a Woman in a White Cap
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reassessments in 2005 and 2006, subsequent to the conservation of thepainting by Martin Bijl in 2003–5.[5]Museen zu Berlin,
Gemäldegalerie, Berlin, inv. 828L

Van de Wetering initially focused his discussion on the physicaladjustment of the panel and later overpainting that had transformed thishead study into a formal portrait. Aside from the overpainting of the color,
additions had been made to the panel’s original arched upper corners tocreate a rectangular format conventional for portraits.[6] The detail of theear iron is further evidence of the informal nature of this work; indeed, theonly other instance of its exposure in a Dutch painting is in a genre scene
by Rembrandt’s follower Philips Koninck (fig 2). The similarity of thepresentation of this feature suggests that Koninck followed Rembrandt’s
painting as a model, and thus may have seen it in Rembrandt’s studio.
Although the conservation treatment revealed that areas of the face had
been overcleaned, Van der Wetering pointed to the remarkably strong
passages in the cap, ear and ear iron, as well as in the cheek and jaw, as
exemplary of Rembrandt’s unique ability to model forms by using a
combination of loose and rhythmic paint handling. The relative softness ofthe shaded parts of the face, Van der Wetering rightly argued, wasconsistent with Rembrandt’s approach to such study heads.
Rembrandt’s interest in rendering this woman’s face in indirect light may
relate to an artistic challenge he was facing around 1640 in planning his
double portrait of Cornelis Claesz Anslo and his wife of 1641 (fig 3). Theinteraction of these two conversing figures required that one face would becast in shadow—in this case, the man’s—while the other was lit. In both
works Rembrandt sought to balance a convincing rendering of the effect ofstrong light with a wide range of modulated shadows and reflected light.
These latter effects are particularly evident in Study of a Woman in a
White Cap in the middle tones of reflected light on the nose, cheeks, chinand forehead.
Dendrochronological analysis of the oak panel support relates this painting
to three other works from Rembrandt’s workshop, each of which waspainted on a panel from the same tree.[7] These comprise the authentic
Self-Portrait of 1633,[8] Portrait of a Man (formerly identified as Willem
Burggraeff), likely not autograph,[9] and a landscape of around 1640 in the
Wallace Collection, certainly by a pupil.[10] Van de Wetering has argued© 2017 The Leiden Collection

Study of a Woman in a White Cap
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that the Leiden Collection painting similarly dates to around 1640. He
notes not only its connection to the Berlin double portrait but also to acluster of other works painted at this time that likewise demonstrate a
combination of loose and regular handling, such as Still Life with Two
Dead

Peacocks[12]

Bittern,andaGirl,[11]Hunter

with

a

Dead

[13]

and Landscape with a Stone Bridge.

In each of these other works of about 1640, Rembrandt extended his
range of style and subject matter beyond conventional pictorial types. In
the same experimental spirit he made the cap, the ear iron, and thewoman’s cheek the focal points of this portrait-like study, defining themwith solidity and brilliance only he commanded. While this painting served
Rembrandt primarily as a study, and perhaps also as a teachingdemonstration of an evocative lighting scenario, he also seized the chance
to suggest his subject’s inner fortitude in her unfazed, slightly humoredexpression. It is also possible that this powerful image served as ademonstration to a prospective portrait client of the effective presentationof a head with the face in shadow. All of these considerations indicate thesignificance of Study of a Woman in a White Cap for Rembrandt and his
oeuvre. This compelling image is also of great significance for the Leiden
Collection, for it is the first painting by Rembrandt to enter this collection.

-David DeWitt© 2017 The Leiden Collection

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Endnotes
1. See John Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish,and French Painters, 9 vols. (London, 1829–42), 7:172, no. 540.
2. For Hofstede de Groot’s opinion, see Cornelis Hofstede de Groot,A Catalogue Raisonné ofthe Works of the Most Eminent Dutch Painters of the Seventeenth Century Based on theWork by John Smith, 8 vols. (London, 1907–27), translated from Beschreibendes und
kritisches Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII.
Jahrhunderts, 10 vols. (Esslingen and Paris, 1907–28), 6:328, no. 690. Those ofFriedländer, Voss, and Bredius were recorded in undated expertises on the backs ofphotographs of the work.
3. See Wilhelm R. Valentiner, Rembrandt: Wiedergefundene Gemälde (Stuttgart and Berlin,
1921), xvi, 13, no. 13; 2nd ed. (Stuttgart, Berlin, and Leipzig, 1923), xxiv, 54, no. 59;
Wilhelm, R. Valentiner, Catalogue of a Loan Exhibition of Paintings by Rembrandt (Exh. cat.
Detroit Institute of Arts) (Detroit, 1930), no. 40; and Wilhelm R. Valentiner, Rembrandt
Paintings in America (New York, 1931), no. 92.
4. Abraham Bredius, The Paintings of Rembrandt (Vienna and London, 1936).
5. See Ernst van de Wetering, “Rembrandt’s Oil Studies: New Light on an Old Problem,” inRembrandt: Quest of a Genius (Exh. cat. Amsterdam, Museum Het Rembrandthuis; Berlin,
Gemäldegalerie, Staatliche Museen zu Berlin) (Zwolle and Amsterdam, 2006), 186–96, 304
no. 32.
6. The following discussion draws primarily on Ernst van de Wetering, “Rembrandt’s Oil
Studies: New Light on an Old Problem,” in Rembrandt: Quest of a Genius (Exh. cat.
Amsterdam, Museum Het Rembrandthuis; Berlin, Gemäldegalerie, Staatliche Museen zu
Berlin) (Zwolle and Amsterdam, 2006), 186–96.
7. Report by Peter Klein of 3 March 2004.
8. Rembrandt van Rijn, Self-Portrait, 1633, oil on panel, 58 x 45 cm, Musée du Louvre, Paris,
inv. 1745 (Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt
Paintings, vol. 2, 1631–1634, ed. Josua Bruyn et al. [Dordrecht, Boston, and Lancaster,1986], A 72).
9. Studio of Rembrandt van Rijn, Portrait of a Man (formerly identified as Willem Burggraeff) ,around 1633, 67.5 × 52.3 cm, Gemäldegalerie Alte Meister, Dresden, inv. 1557 (Abraham
Bredius, Rembrandt: The Complete Edition of the Paintings, ed. Horst Gerson [London,
1969], 562, no.175; Stichting Foundation Rembrandt Research Project, A Corpus of
Rembrandt Paintings, vol. 2, 1631–1634, ed. Josua Bruyn et al. [Dordrecht, Boston, andLancaster, 1986], C 77.

© 2017 The Leiden Collection

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10. Unknown artist, Landscape, around 1640, oil on panel, 46 × 64 cm, Wallace Collection,
London, inv. P229 (Stichting Foundation Rembrandt Research Project, A Corpus of
Rembrandt Paintings, vol. 3, 1635–1642, ed. Josua Bruyn et al. [Dordrecht, Boston, andLondon, 1989], C 119).
11. Rembrandt van Rijn, Still Life with Two Dead Peacocks and a Girl , around 1639, oil on
panel, 134 × 144.8 cm, Rijksmuseum, Amsterdam, inv. SK-A-3981 (Stichting Foundation
Rembrandt Research Project, A Corpus of Rembrandt Paintings , vol. 3, 1635–1642, ed.
Josua Bruyn et al. [Dordrecht, Boston, and London, 1989], A 134).
12. Rembrandt van Rijn, A Hunter with a Dead Bittern , 1639, oil on panel, 120.7 × 88.3 cm,
Gemäldegalerie Alte Meister, Dresden, inv. 1561 (Stichting Foundation Rembrandt
Research Project, A Corpus of Rembrandt Paintings , vol. 3, 1635–1642, ed. Josua Bruyn etal. [Dordrecht, Boston, and London, 1989], A 133).
13. Rembrandt van Rijn, Landscape with a Stone Bridge , around 1639, oil on panel, 29.5 × 42.5
cm, Rijksmuseum, Amsterdam, inv. SK-A-1935 (Stichting Foundation Rembrandt Research
Project, A Corpus of Rembrandt Paintings , vol. 3, 1635–1642, ed. Josua Bruyn et al.
[Dordrecht, Boston, and London, 1989], A 136).

ProvenanceFurst Wenzel Anton Kaunitz (1711–94), Kaunitz Stadtpaleis, Dorotheergasse, Vienna; bydescent to his nephew Furst Aloys Kaunitz (his sale, Artaria & Co., Vienna, 13 March 1820,
no. 138 [for 250 florins to John Smith, London]).
George John Warren Vernon, 5th Baron Vernon (1803–66), Sudbury Hall, Derby (sale,
London, Christie’s, 15–16 April 1831, no. 13 [unsold, 63 guineas].
Watson, Sandford Manor, Woodley, England, by 1921.
Eldridge R. Johnson (d. 15 November 1945), Moorestown, New Jersey, by 1930; by descentin the family [Newhouse Galleries, New York].
Howard Walsh and Mary D. Fleming Walsh, Fort Worth, Texas, 1971; by descent.
(Sale, Sotheby’s, New York, 26 January 2006, no. 10 [Otto Naumann Ltd., New York]).
From whom acquired by the present owner.

Exhibition History© 2017 The Leiden Collection

Study of a Woman in a White Cap
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Detroit, Detroit Institute of Arts, “Loan Exhibition of Paintings by Rembrandt,” 2–31 May
1930, no. 40 [lent by Mr. Eldridge R. Johnson, Moorestown, New Jersey].
Amsterdam, Museum Het Rembrandthuis, “Rembrandts olieverfstudies: Nieuw licht op een
oud probleem,” 22 September–4 December 2005 [no number, lent by the Walsh Art Trust].
Amsterdam, Museum Het Rembrandthuis, “Rembrandt: Quest of a Genius,” 1 April–2 July
2006; Berlin, Gemäldegalerie, Staatliche Museen zu Berlin, 4 August–5 November 2006, no.
32 [lent by the present owner].
Amsterdam, Museum Het Rembrandthuis, 2006–2008, on loan with the permanentcollection [lent by the present owner].
Kimbell Art Museum, Fort Worth, Texas, “From the Private Collections of Texas: European
Art, Ancient to Modern,” 22 November 2009–21 March 2010, no. 25 [lent by the present
owner].
Amsterdam, Museum Het Rembrandthuis, on loan with the permanent collection, April–June
2010 [lent by the present owner].
Oxford, Ashmolean Museum of Art, on loan with the permanent collection, June 2010–March2011 [lent by the present owner].
Tokyo, National Museum of Western Art, “Rembrandt: The Quest for Chiaroscuro,” 12March–12 June 2011; Nagoya, Nagoya City Art Museum, 25 June–4 September 2011, no.
100 [lent by the present owner].
Raleigh, North Carolina Museum of Art, “Rembrandt in America: Collecting andConnoisseurship,” 30 October 2011–22 January 2012; Cleveland, Cleveland Museum ofArt, 19 February–28 May 2012; Minneapolis, Minneapolis Institute of Arts, 24 June–16
September 2012, no. 26 [lent by the present owner].
Washington D.C., National Gallery of Art, on loan with the permanent collection, 24 June
2013–June 2016 [lent by the present owner].
Paris, Museé du Louvre, “Masterpieces of The Leiden Collection: The Age of Rembrandt,”
22 February–22 May 2017 [lent by the present owner].
Beijing, National Museum of China, “Rembrandt and His Time: Masterpieces from The
Leiden Collection,” 17 June–3 September 2017 [lent by the present owner].

References
Smith, John. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, andFrench Painters. 9 vols. London, 1829–42, 7:172, no. 540.
Hofstede de Groot, Cornelis. A Catalogue Raisonné of the Works of the Most Eminent© 2017 The Leiden Collection

Study of a Woman in a White Cap
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Dutch Painters of the Seventeenth Century Based on the Work by John Smith . 8 vols.
London, 1907–27, 6:328, no. 690. Translated from Beschreibendes und kritisches
Verzeichnis der Werke der hervorragendsten holländischen Maler des XVII. Jahrhunderts .
10 vols. Esslingen and Paris, 1907–28.
Valentiner, Wilhelm R. Rembrandt: Wiedergefundene Gemälde. Stuttgart and Berlin, 1921,
xvi, 13, no. 13; 2nd ed., Stuttgart, Berlin, Leipzig, 1923, xxiv, 54, no. 59.
Hofstede de Groot, Cornelis. Die holländische Kritik der jetzigen Rembrandt-Forschung undneuest wiedergefundene Rembrandt-bilder. Stuttgart and Berlin, 1922, 6, no. 13.
Valentiner, Wilhelm, R. Catalogue of a Loan Exhibition of Paintings by Rembrandt . Exh. cat.
Detroit, Detroit Institute of Arts. Detroit, 1930, no. 40.
Valentiner, Wilhelm R. Rembrandt Paintings in America. New York, 1931, no. 92.
Sumowski, Werner. Gemälde der Rembrandt-Schüler in vier Bänden. 6 vols. Landau,
1983–94, 4:2881 n. 1, no. 13.
Van de Wetering, Ernst. Rembrandt’s Oil Studies: New Light on an Old Problem . Translated
from Rembrandts olieverfstudies: Nieuw licht op een oud problem . Exh. cat. Amsterdam,
Museum Het Rembrandthuis. Amsterdam, 2005.
Van de Wetering, Ernst. “Rembrandt’s Oil Studies: New Light on an Old Problem.” In
Rembrandt: Quest of a Genius , 186–96, also no. 32. Exh. cat. Amsterdam, Museum Het
Rembrandthuis; Berlin, Gemäldegalerie, Staatliche Museen zu Berlin. Zwolle, 2006.
Van de Wetering, Ernst. Rembrandt: A Life in 180 Paintings. Amsterdam, 2008, 211.
Dickerson, C. D., III. “Elderly Woman in a White Cap.” In From the Private Collections ofTexas: European Art, Ancient to Modern. Edited by Richard R. Brettell and C. D. Dickerson
III, 170–72, no. 25. Exh. cat. Fort Worth, Kimbell Art Museum. Fort Worth, 2009.
Van den Boogert, Bob. “Study of a Woman in a White Cap.” InRembrandt: The Quest for
Chiaroscuro. Edited by Akira Kofuku, 248–49, 350, no. 100. Exh. cat. Tokyo, National
Museum of Western Art; Nagoya, Nagoya City Art Museum. Tokyo, 2011.
Keyes, George S., Rassieur, Tom and Weller, Dennis P., eds. Rembrandt in America:
Collecting and Connoisseurship. Exh. cat. Raleigh, North Carolina Museum of Art;
Cleveland, Cleveland Museum of Art; Minneapolis, Minneapolis Institute of Arts. New York,2011, 187, no. 26.
Weller, Dennis P. “Rembrandt Paintings in America.” In Rembrandt in America: Collecting
and Connoisseurship. Edited by George S. Keyes, Tom Rassieur, and Dennis P. Weller,
24, pl. 1, 27. Exh. cat. Raleigh, North Carolina Museum of Art; Cleveland, Cleveland
Museum of Art; Minneapolis, Minneapolis Institute of Arts. New York, 2011.

© 2017 The Leiden Collection

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Versions
Versions and Copies
1. After Rembrandt, Woman in a White Cap , 50 x 35 cm, with arched top, location unknown(previously or still in a private collection in Utrecht, 1954).

2. After Rembrandt, Woman in a White Cap , oil on panel, 24 x 19 cm, location unknown(previously or still in the collection of L. Hofmann, Landshut, Bavaria, 1958).

3. After Rembrandt, Woman in a White Cap , oil on canvas, 53 x 44 cm, The State Hermitage
Museum, St. Petersburg.

4. After Rembrandt, Woman in a White Cap, location unknown (with Neumans, Paris, 1936).
5. After Rembrandt, Woman in a White Cap, oil on canvas, 20 x 16 in., location unknown.
6. After Rembrandt, Woman in a White Cap , with arched top, location unknown (previously or
still in the Ferrari Collection, Bergamo).

Versions Notes

Technical Summary
The support is a single plank of vertically grained, rectangular Eastern Baltic oak with rounded
upper corners.[1] The 9.5 cm-wide center section of the upper panel edge is cut horizontally anddoes not form a true arch as does the period copy from a Utrecht private collection, whichsuggests the center of the upper panel edge has been trimmed approximately 3 cm inheight.[2] The panel has no bevels and has been thinned.
Triangular wood additions square off the rounded upper corners, and narrow vertical woodadditions along the left and right edges widen the format.[3] The painted composition has been
extended onto the four additions, and narrow unpainted shims have been glued to the left, right,
and upper edges for framing purposes. The entire composite panel has been marouflaged to a
0.6 cm-thick hardwood board with a 0.1 cm-thick vertically grained oak veneer backing. Two
auction house labels have been applied to the reverse, but there are no wax seals, importstamps, stencils or panel maker’s marks.
According to the January 2006 Sotheby’s sale catalogue entry for this lot, a rectangular panel
addition, approx. 7 cm high, had been previously adhered along the entire width of the loweredge. The composition had been extended onto this addition and an eighteenth-century stenciled
cypher of Furst Wenzel Anton Kaunitz (1711–94), one of the principal figures of the Austrian© 2017 The Leiden Collection

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Enlightenment, had been applied to the lower right corner. This addition was removed during thepainting’s restoration in 2002–5. Although it was apparently included as part of the lot when thepainting was sold, its location is now unknown.[4]Approximately 3 cm is missing from the original arched portion of upper edge and approximately
7 cm is missing from the lower edge. A diagram depicting the addition removed during
restoration in 2002–5 is available in The Leiden Collection archive files.
Peter Klein’s 2004 dendrochronology report states that “die Anstuckung der Eichenholztafel,”presumably referring to the oak addition removed from the lower edge, stems from southern
Germany and has an earliest fell date of 1639 with an earliest use date of 1641. However,according to Klein a more plausible fell date would be 1645, 1649, or 1654 plus x, with a more
likely first use date of 1651 or after.[5]A light, warm-colored, thinly and evenly applied ground shows through the thinly and smoothly
applied passages of paint along the background, fur lining, and dark garment. The flesh tones ofthe figure’s face, the gray hair, and the white cap have been applied in a thick paste with low
brushmarkings and low impasto.
No underdrawing is readily apparent in infrared images captured at 780–1000 nanometers andno compositional changes were revealed; however, restorations along the profile of the figure’s
face are visible.
The painting is unsigned and undated.
The painting has not undergone conservation treatment since its acquisition and remains in agood state of preservation.

Technical Summary Endnotes

1. The characterization of the wood is based on dendrochronology reports by Peter Klein
and Ian Tyers.
2. The curves of the two upper corners were extended on a Mylar template and the distance
between the midpoint of the arch formed and the horizontal panel edge was measured.
Unfortunately, the narrow shim glued to the edge makes it impossible to determine if theupper edge is in fact original and, if not, how or when it may have been cut.
3. Left addition is 2 cm wide; right addition is 0.5 cm wide.
4. It appears this addition may have been inadvertently left behind at Sotheby’s when the lot
was purchased.

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5. It is not entirely clear why this early oak addition was removed and not simply framed out,or why the narrow wood shim glued to the upper panel edge was not removed anddendrochronology attempted on the upper endgrain instead.

© 2017 The Leiden Collection