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A Gallery for the Nation
The National Gallery was founded in 1824 when the government purchased 38 paintings for the nation from the art collection of London businessman John Julius Angerstein.
In the decade following the opening of the Gallery, many generous gifts were made to the nation. It was during this period that the National Gallery received its very first bequest in 1831.
The bequest is detailed here in the Gallery's first printed annual review.
Reverend William Holwell Carr (1758-1830)
This particular bequest was made by the Reverent William Holwell Carr (1758-1830). A clergyman with a well-paid parish in Cornwall.
He delegated most of his pastoral duties to others and with the assistance of his wife, who was born into a wealthy aristocratic family, devoted his time to collecting art. He was also a talented amateur artist.
National Gallery Annual Review (1855)The National Gallery, London
After his death in 1830, 35 paintings from Holwell Carr’s collection were bequeathed to the nation the following year. This significant bequest included some great works by artists such as Tintoretto, Titian, Veronese, and Rembrandt.
A Woman bathing in a Stream (Hendrickje Stoffels?) (1654) by RembrandtThe National Gallery, London
'A Woman bathing in a Stream (Hendrickje Stoffels?)'
One of the paintings included in the bequest was Rembrandt's 'A Woman bathing in a Stream (Hendrickje Stoffels?)'. This profoundly intimate portrait of a young woman bathing is considered, to be one of Rembrandt's most accomplished and moving works.
Self-Portrait (1659) by Rembrandt van RijnNational Gallery of Art, Washington DC
Rembrandt (1606 - 1669)
A renowned painter of the 17th century, Rembrandt made a name for himself as both a prominent portraitist and a painter of historical subjects. Although his style evolved significantly throughout his career, his talent for capturing emotion remained a constant.
A Woman bathing in a Stream (Hendrickje Stoffels?) (1654) by RembrandtThe National Gallery, London
This portrait is much smaller in size than Rembrandt's usual works, perhaps adding to its incredible sense of intimacy. Rembrandt captures a young woman in a private moment of undress – standing up to her knees in a stream, she gently gathers her white shift about her body.
Bathed from head to toe in a comforting and mellow light, the woman smiles faintly, perhaps in reaction to the pleasurable sensation of the cool water rippling gently around her bare legs. She is seemingly unaware that she is being observed.
But who is the woman in this painting and why has Rembrandt chosen to immortalise such a contemplative, private moment in paint?
The most likely theory is that Rembrandt knew and deeply cared for this woman. Following the death of his wife Saskia in 1642, Rembrandt is known to have had relationships with two women employed by his household – one of whom was the young Hendrickje Stoffels.
Hendrickje Stoffels (1626-1663)
It was in 1649, during a particularly turbulent time in the artist’s life, when the 23-year-old Hendrickje Stoffels joined Rembrandt's household. The two quickly fell in love.
Although the pair were never able to marry, Hendrickje gave birth to their daughter Cornelia in 1654 (the same year this painting was created) and the lovers continued to live together until her death in 1663.
Some have suggested that this may not just be a portrait of Rembrandt’s lover, but perhaps also a study for a painting of a biblical heroine, such as Bathsheba or Susanna, or a figure from mythology, like Callisto.
The writings or tales relating to these figures each feature a scene in which the heroine is observed whilst bathing.
The most likely subject for Rembrandt’s portrait is probably Bathsheba. She was the wife of Uriah, a general in the army of King David. King David saw Bathsheba bathing and, wanting to marry her himself, sent her husband into the thick of battle to ensure his death.
It may be possible that this painting was a preparatory study for another of Rembrandt’s paintings featuring Bathsheba. Both were painted in the same year – 1654 – and portray a woman in or near water with rich, heavy fabric nearby.
Drawing with paint
While there are many unanswered questions surrounding this painting, including the identity of Rembrandt's sitter and the nature of her pose, what is particularly striking is the way in which it is painted.
Painting in the later years of his life, Rembrandt adopts a far more spontaneous approach to his handling of paint. Here we see his bold use of thick brushstrokes, allowing him to paint with a dynamic and expressive fluidity.
This freedom in the handling of paint, paired with the intimacy of the painting’s subject matter, gives this work a moving and tender quality. It gives us a glimpse into the artist’s own mind, as well as his unique artistic technique.
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