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Portrait of a Man in a Tall Hat

Rembrandtc. 1663

National Gallery of Art, Washington DC

National Gallery of Art, Washington DC
Washington, DC, United States

After learning the fundamentals of drawing and painting in his native Leiden, Rembrandt van Rijn went to Amsterdam in 1624 to study for six months with Pieter Lastman (1583–1633), a famous history painter. Upon completion of his training Rembrandt returned to Leiden. Around 1632 he moved to Amsterdam, quickly establishing himself as the town’s leading artist, specializing in history paintings and portraiture. He received many commissions and attracted a number of students who came to learn his method of painting.


The identity of this distinguished sitter has long been lost, but his dress and demeanor indicate that he was a well-to-do man, probably an Amsterdam merchant. Similarities between this work and Rembrandt's Syndics of the Cloth Drapers' Guild of 1662 suggest that the two paintings are not far removed in date. The sitter's hairstyle and costume, particularly his wide, flat collar with its tassels, are similar, as is the self-assured gravity that he projects as he focuses his eyes on the viewer from beneath his wide-brimmed black hat.


Unfortunately, large portions of the painting have suffered from abrasion and overpainting, and a thick layer of discolored varnish covers the work. Nevertheless, the sitter’s face has been well preserved, so that the painting retains its powerful presence and the sitter his imposing dignity.

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  • Title: Portrait of a Man in a Tall Hat
  • Creator: Rembrandt van Rijn
  • Date Created: c. 1663
  • Physical Dimensions: overall: 121.3 x 94 cm (47 3/4 x 37 in.)
  • Provenance: Stanisław August Poniatowski, king of Poland [1732-1798]. (Mr. Noe, Munich). Gasser collection, Vienna. Prince Klemens Wenzel von Metternich [1773-1859]; purchased by (Otto Mündler, Paris); sold 1865 to Ivor Bertie Guest, 1st baron Wimborne [1835-1914], Canford Manor, Dorsetshire.[1] (Arthur J. Sulley & Co., London); Peter A.B. Widener, Lynnewood Hall, Elkins Park, Pennsylvania, by 1912; inheritance from Estate of Peter A.B. Widener by gift through power of appointment of Joseph E. Widener, Elkins Park, Pennsylvania; gift 1942 to NGA. [1] The painting was first published by Wilhelm von Bode, _Studien zur Geschichte der holländischen Malerei_, Braunschweig, 1883: 530, 579–580, no. 148. The early provenance is given in _A Catalogue of the Pictures at Canford Manor in the Possession of Lord Wimborne_, Edinburgh, 1888: 62, no. 153, but it has not yet been confirmed through other sources. The painting does not appear in Tadeusz Mankowski’s reconstruction of the 1795 inventory of the Polish king’s collection, _Galerja Stanisława Augusta_, Lwów, 1932. Gasser, described in the 1888 catalogue as “the sculptor of Vienna,” was perhaps Hans Gasser (1817-1868), an Austrian sculptor and painter who also built up an art collection (see Walter Krause, “Gasser, Hans,” in _The Dictionary of Art_, ed. Jane Turner, 34 vols., New York, 1996: 12:172.
  • Medium: oil on canvas
National Gallery of Art, Washington DC

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