References Cornelis Gysbert van Goor. Letter to Giacomo di Battista . June 19, 1654 [published in Ref. Ruffo 1916, and in Ref. Ricci 1918 with corrections], states that he has consigned a crate containing this picture to the captain of the vessel Bartholomeus, sailing for Naples, and notes that 500 florins are due for the painting, plus additional costs.Inventory of Don Antonio Ruffo, principe della Scaletta . September 1, 1654 [published in Ref. Ruffo 1919], lists it as a half-length figure of a philosopher by Rembrandt, noting that it seems to depict either Aristotle ot Albertus Magnus.Ledger entry . January 8, 1657 [published in Ref. Ricci 1918], refers to it as Albertus Magnus in a note regarding its frame.Letters to Don Antonio Ruffo . June 13–October 6/7, 1660 [published in Ref. Ruffo 1916], praises it and accepts a commission to paint a pendant in his own early style; acknowledges receipt of a sketch of this work; believes it represents a philosopher, and proposes a cosmographer as the pendant.Letter to Don Antonio Ruffo . September 18, 1661 [published in Ref. Ricci 1918], states that he is painting for Ruffo a Dionysius of Syracuse, a half-length figure with a turban draped about its head "come l'altri due [like the other two]", probably referring to this work, having mistaken the cap for a turban.Nota di quadri vincolati in primogenitura, ricuperati da don Giovanni Ruffo . . . dalle rovine del palazzo caduto in Messina coll'orribile terremoto dei 5 febraro 1783 . 1783 [private collection, Messina; published in Rosanna De Gennaro, "Aggiunta alle notizie sulla collezione di Antonio Ruffo . . . ," Napoli nobilissima 2 (September–December 2001), p. 214, no. 63], lists it as "Quadro di Alberto Magno, del Reimbrant, palmi 5 1/2, sono tre, onze 210", among paintings from the Ruffo collection rescued from the earthquake of February 5, 1783.A Descriptive Catalogue of a Collection of Pictures . London, 1824, pp. 36–37, no. 116, as "Portrait of Cornelius van Hooft".A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters . 7, London, 1836, p. 110, no. 302, as "Vander Hoof," in the collection of Sir Abraham Hume.Works of Art and Artists in England . London, 1838, vol. 2, p. 205, notes that although it is called a portrait of Van Hooft, it is dated 1653, and the historian died in 1647.Kunstwerke und Künstler in England und Paris . 2, Berlin, 1838, p. 20.Treasures of Art in Great Britain . London, 1854, vol. 2, pp. 315–16, as in the collection of the Earl Brownlow.Rembrandt, sa vie et ses ouevres . 2nd ed. The Hague, 1877, p. 551, repeats the identification of the sitter as Hooft.Studien zur Geschichte der holländischen Malerei . Braunschweig, 1883, pp. 501, 578, 620, no. 139, as a portrait of a man.Tableaux et dessins de Rembrandt . Paris, 1885, pp. 43, 63, 69, no. 316, as a portrait of a man, wrongly called Hooft.Rembrandt-galerie . Stuttgart, 1886, text vol., no. 159.Rembrandt: His Life, His Work, and His Time . English ed. New York, 1894, vol. 2, p. 235.Catalogue raisonné des tableaux et des sculptures . The Hague, 1895, p. 338, under no. 584, notes the similarities between the bust depicted here and the figure of Homer in the Mauritshuis painting.Oud-Holland 15 (1897), pp. 4–6, fig. 7, as in the Rodolphe Kann collection; suggests that the subject is the epic poet Torquato Tasso.Rembrandt van Rijn and His Work . London, 1899, pp. 80, 138–39, erroneously as still in the Brownlow collection; notes that it is Rembrandt's only painting dated 1653.Gemäldesammlung des Herrn Rudolf Kann in Paris . Vienna, 1900, p. III, pl. 1, as "Porträt eines Gelehrten".Gemälde-Sammlung des Herrn Rudolf Kann in Paris . Vienna, 1900, p. IV, ill. p. XI.Die Graphischen Künste 23 (1900), p. 89.The Complete Work of Rembrandt . 5, Paris, 1901, pp. 31, 180, no. 585, pl. 585, as "A Bearded Man with a Bust of Homer".Les arts 2 (February 1903), pp. 19–20, ill.Rembrandt, des Meisters Gemälde . Stuttgart, 1904, pp. XXXII, 261, 269, ill. p. 183.Rembrandt, des Meisters Gemälde . 2nd ed. Stuttgart, 1906, pp. 402, 415, 426, 432, ill. p. 282.Catalogue of the Rodolphe Kann Collection: Pictures . Paris, 1907, vol. 1, p. 66, no. 65, ill. opp. p. 66.Connoisseur 20 (January 1908), pp. 5–6, ill. opp. p. 3.Burlington Magazine 12 (January 1908), pp. 197–98, ill. opp. p. 193.Revue de l'art ancien et moderne 23 (January–June 1908), p. 194, ill. p. 195.Burlington Magazine 16 (December 1909), p. 184.Oud-Holland 27 (1909), pp. 224–25, ill., tentatively as Torquato Tasso.Rembrandt, des Meisters Gemälde . 3rd ed. Stuttgart, 1909, pp. 562, 576, 589, 597, ill. p. 426, Valentiner calls it perhaps an ideal portrait of the poet Virgil.The Hudson-Fulton Celebration: Catalogue of an Exhibition Held in The Metropolitan Museum of Art . Exh. cat., The Metropolitan Museum of Art. New York, 1909, vol. 1, p. 98, no. 97, ill. opp. p. 98, as "The Savant," probably depicting Virgil; notes that the bust of Homer is included in an inventory of Rembrandt's collection.Zeitschrift für bildende Kunst , n.s., 21, no. 4 (1910), p. 77, ill. p. 75, says the sitter may be Torquato Tasso or Virgil.Catalogue raisonné des tableaux et des sculptures . 2nd ed. The Hague, 1914, p. 309, under. no. 584.Archivio storico siciliano , n.s., 39 (1914), p. 338, notes that there were three Rembrandts in the Ruffo collection, known from the correspondence of Abraham Brueghel as "Aristotele che tiene la mano sopra una statua", "Alessandro Magno seduto", and "Omero seduto che insegna a due discepoli"; however, makes no connection between the Ruffo Aristotle and the MMA work.Feest-Bundel Dr. Abraham Bredius aangeboden den Achttienden April 1915 . Amsterdam, 1915, pp. 19–22, as a poet.A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century . 6, London, 1916, pp. 221–22, no. 413.Bollettino d'arte 10 (1916), pp. 100–102, 127–28, 165–66, 238, 318, publishes documents regarding this work when it was in the collection of Don Antonio Ruffo.Oud-Holland 35 (1917), pp. 129–48, ill., identifies the MMA work with the Aristotle in the Ruffo collection.Rembrandt in Italia . Milan, 1918, pp. 7–53, ill., discusses and reprints, with additions and corrections, the documents published by Ruffo in 1916 [see Ref.].Kunstchronik und Kunstmarkt , n.s., 30 (November 8, 1918), pp. 69–70.Bollettino d'arte nos. 1–4 (January–April 1919), pp. 55–56.Rembrandt's Paintings . London, 1923, p. 199, pl. CCCLII, as "Portrait of a Man of Letters".Rembrandt . 4th ed. Munich, 1924, vol. 2, pp. 534–36, fig. 161.Gazette des beaux-arts , 5th ser., 11 (1925), pp. 53–54, ill.Der Cicerone 21 (August 1929), pp. 463–65, ill.International Studio 96 (June 1930), ill. p. 51.Art News 28 (April 26, 1930), p. 4, ill. opp. p. 4, erroneously as painted in 1651.Rembrandt Paintings in America . New York, 1931, unpaginated, no. 115, pl. 115.Rembrandt: Being the Substance of the Charles Eliot Norton Lectures Delivered before Harvard University, 1930–1931 . Cambridge, Mass., 1932, p. 135, pl. CXII.Rembrandt en de Traditie . Rotterdam, 1932, p. 15, fig. 12, states that the bust of Homer also served as the model for the head behind Pilate in "Pilate Washing His Hands" (MMA 14.40.610).Art Digest 7 (May 15, 1933), p. 20, ill.Art News 31 (May 27, 1933), ill. p. 8.Rembrandt Gemälde . Vienna, 1935, p. 20, no. 478, pl. 478.Meisterwerke europäischer Malerei in Amerika . Vienna, 1935, p. 337, pl. 177 [English ed., New York, 1939, p. 321, pl. 177].Gazette des beaux-arts , 6th ser., 15 (1936), pp. 48–49, fig. 7.Zeitschrift für Kunstgeschichte 10, no. 4/5 (1941/42), pp. 135–36, 144.Rembrandt: Selected Paintings . London, 1942, pp. 14–15, pl. 60.Art Quarterly 7 (1944), pp. 129–34, fig. 2.Studies in Seicento Art and Theory . London, 1947, pp. 105–6 n. 178.Rembrandt . Cambridge, Mass., 1948, vol. 1, pp. 165–68; vol. 2, pl. 242, identifies the medallion as depicting Alexander the Great.Wallraf-Richartz-Jahrbuch 14 (1952), pp. 187–95, fig. 167.Rembrandt and His Critics, 1630–1730 . The Hague, 1953, pp. 59–64, 81, 87, 107, fig. 20.Art Quarterly 19 (Winter 1956), p. 339.Dutch Painting . [Geneva], 1956, p. 139, ill. p. 137 (color).Rembrandt . [New York], 1957, pp. 91–93, 96.Metropolitan Museum of Art Bulletin 16 (November 1957), p. 108, ill. (photograph of Huntington's library).Lectures . London, 1957, vol. 1, pp. 309–10, pl. 216, commenting on Rembrandt's choice of subject matter for the Ruffo commission, notes that Aristotle's "Poetics" had recently been rediscovered and that Aristotle was held in high esteem in Holland; states that in this context the juxtaposition of Aristotle and Homer seems to conflate knowledge and poetry.Rembrandt and Spinoza: A Study of the Spiritual Conflicts in Seventeenth-Century Holland . London, 1957, pp. 66–68, fig. 10, suggests that the three portraits commissioned by Ruffo would have been hung together—with the Aristotle on the left, the Alexander in the middle, and the Homer on the right—and that Ruffo himself may have suggested the inclusion of Homer's bust and Alexander on the medal, with the formation of an ensemble in mind.Art Quarterly 22 (Winter 1959), p. 328.Rembrandt: Paintings, Drawings, and Etchings . London, 1960, pp. 175–76, pl. 77, erroneously concludes that the picture "has been considerably cut away at the sides".The Collection of Twenty-Four Old Master Paintings . Parke-Bernet, New York. 1961, pp. 26–28, no. 7, ill. p. 29 and frontispiece (color).Art News 60 (December 1961), p. 27.Gedenkschrift ter herinnering aan het vijftigjarig bestaan van museum het Rembrandthuis (June 10, 1961), p. 43, ill. p. 36 (cropped).Connoisseur 150 (August 1962), p. 277.Art Bulletin 44 (December 1962), p. 303.Metropolitan Museum of Art Bulletin 20 (January 1962), pp. 149–56, ill. on cover (color) [reprinted in Dutch in De Kroniek van de Vriendenkring van het Rembrandthuis 17 (April 28, 1963), pp. 35–45, ill. p. 21].Connaissance des arts 119 (January 1962), p. 35, ill.Patrons and Painters: A Study in the Relations between Italian Art and Society in the Age of the Baroque . New York, 1963, pp. 209–10, pl. 35a.Rembrandt and the Book of Tobit . Northampton, Mass., 1964, p. 25.Rembrandt: Life & Work . rev. ed. London, 1964, pp. 278–83, 317, fig. 242.Jahrbuch für Numismatik und Geldgeschichte 15 (1965), pp. 7–9, believes that the gold medallion depicts Athena, not Alexander.Rembrandt Gemälde . Berlin, 1966, p. 12, pl. 207.Rembrandt and the Italian Renaissance . London, 1966, p. 78, fig. 71, believes the bust of Homer had particular significance for Rembrandt, who "turned again and again to the theme of blindness".in Encyclopedia of World Art . 11, New York, 1966, cols. 929–30.in Dutch Art and Architecture: 1600 to 1800 . Baltimore, 1966, pp. 71, 74, pl. 50A.Rembrandt and His World . new ed. New York, 1966, p. 104, ill.The Life, Times, and Art of Rembrandt . New York, 1967, pp. 62–63, ill. (color).Rembrandt en de Regels van de Kunst . Utrecht, [1968], pp. 169–76, 203–5, fig. 51, states that the trio of Homer, Aristotle, and Alexander could have been intended to correspond to "ingenium" (inborn talent), "ars" (science of art), and "exercitatio" (practical training).Rembrandt Paintings . Amsterdam, 1968, pp. 138–39, 370, 499, no. 286, ill. pp. 111 (color) and 370.in Rembrandt After Three Hundred Years . Exh. cat., Art Institute of Chicago. [Chicago], 1969, p. 18.Burlington Magazine 111 (December 1969), p. 781.Rembrandt: The Complete Edition of the Paintings . 3rd ed. London, 1969, p. 594, no. 478, ill. p. 386.Rembrandt: His Life, His Work, His Time . New York, [1969], pp. 240–43, 311, fig. 403 (color).Antiek 4 (October 1969), p. 136.Rembrandt's "Aristotle" and other Rembrandt Studies . Princeton, 1969, pp. 3–44, figs. 1, 33 (overall and detail) and frontispiece (color), notes that Aristotle does not contemplate the bust of Homer, or even look at it.Holland Herald 4, no. 8 (1969), p. 28, ill. p. 34.in L'opera pittorica completa di Rembrandt . Milan, 1969, pp. 114–15, no. 316, ill. p. 115 and colorpl. XXXVII.Connoisseur 172 (September 1969), p. 6.Oud Holland 84 (1969), p. 128.Pantheon 27, no. 6 (November–December 1969), p. 465.Spiegel Historiael 4 (September 1969), p. 456, fig. 9.L'Oeil no. 183 (March 1970), p. 7.Rembrandt Today . Amsterdam, 1970, pp. 45–46.in Le siècle de Rembrandt: Tableaux hollandais des collections publiques françaises . Exh. cat., Petit Palais, Musée des Beaux Arts de la Ville de Paris. Paris, 1970, p. 182, under no. 178.Metropolitan Museum Journal 3 (1970), p. 263.Arte illustrata 3 (January–February 1970), p. 8, fig. 5.Merchants and Masterpieces: The Story of The Metropolitan Museum of Art . New York, 1970, pp. 171–72, 191, 271, 335–39, 349 [rev., enl. ed., 1989, pp. 171–72, 191, 271, 335–39, 349, 363].L'Oeil nos. 188–89 (August–September 1970), p. 14, colorpl. 3.Kunstchronik 24 (December 1971), pp. 370–72.in Rembrandt Harmensz van Rijn: Paintings from Soviet Museums . Leningrad [St. Petersburg], 1971, unpaginated, under no. 27.Jardin des arts no. 215 (October–November 1972), p. 33, ill. (color).17th and 18th Century Art: Baroque Painting, Sculpture, Architecture . Englewood Cliffs, N.J., [1972], p. 248, fig. 259.in Dutch Art and Architecture: 1600 to 1800 . rev. ed. Harmondsworth, England, 1972, pp. 121, 126, fig. 83.in "Paintings, Drawings." The Wrightsman Collection . 5, [New York], 1973, p. 116.La grande histoire de la peinture . 10, [Geneva], 1973, ill. p. 19.La grande histoire de la peinture . 11, [Geneva], 1973, p. 33.Rembrandt After Three Hundred Years . Chicago, 1973, pp. 53, 57, 63.Rembrandt After Three Hundred Years . Chicago, 1973, pp. 124–25.European and American Paintings in the Isabella Stewart Gardner Museum . Boston, 1974, p. 198.Barockthemen: Eine Auswahl von Verzeichnissen zur Ikonographie des 17. und 18. Jahrhunderts . 2nd ed. [first ed. 1956]. Budapest, 1974, vol. 2, pp. 323–24.in "The Price Was Not Too High." The Chase, the Capture: Collecting at the Metropolitan . New York, 1975, pp. 202–4, fig. 52.Rembrandt and His Art . New York, 1975, pp. 76, 84, pl. 60.in Art in Seventeenth Century Holland . Exh. cat., National Gallery. London, 1976, p. 75, under no. 93.Memories of Duveen Brothers . London, 1976, p. 40.Apollo 103 (May 1976), p. 387, erroneously states that it was in Ruffo's collection in Rome.Master Painters of Holland: Dutch Painting in the Seventeenth Century . New York, 1976, colorpl. 69.The Hidden Rembrandt . Milan, 1977, pp. 130–36, 151, 194, no. 406, ill. pp. 131 (color), 194.Index to the Formal Sources of Rembrandt's Art . Maarssen, The Netherlands, 1977, p. 48.Catalogue of Italian Drawings in the Art Musuem, Princeton University . Princeton, 1977, vol. 1, p. 98, under no. 256.Rembrandt . Tokyo, 1977, colorpl. 47.Rembrandt's House . Boston, 1978, pp. 105, 171, 202, 209.An Introduction to Rembrandt . New York, 1978, p. 102, fig. 110.Apollo 107 (January 1978), p. 46.Rembrandt in the Mauritshuis . Alphen aan den Rijn, The Netherlands, 1978, pp. 170–72, 174, 176 n. 3, pp. 222–23, fig. 141, notes that the historical source that combines the three figures of Homer, Aristotle, and Alexander is Plutarch's life of Alexander.The "Cabinet" of the Brothers Gerard and Jan Reynst . Amsterdam, 1979, p. 106.The Rembrandt Documents . New York, 1979, pp. 293, 315, 320, 457–58, 460, 490–91, 494, ill. pp. 316–17 (overall and detail).Second Sight: Titian, "Portrait of a Man"; Rembrandt, "Self-portrait at the Age of 34" . Exh. cat., National Gallery. London, 1980, p. 9, ill. p. 10.The Metropolitan Museum of Art . New York, 1980, pp. 335, 340, fig. 606 (color).The St. John's Review 31 (January 1980), pp. 68–74, ill. (overall and details).Connaissance des arts . Exh. cat.no. 353, July 1981, p. 76.Art and Autoradiography: Insights into the Genesis of Paintings by Rembrandt, Van Dyck, and Vermeer . New York, 1982, pp. 51–52, 98–99 nn. 43–46, p. 103, pls. 31–34 (overall, x-ray radiograph, and autoradiographs) and colorpls. E, F (photomicrographs of paint cross sections), state that technical analysis reveals that although the composition was established from the outset, in the process of painting Rembrandt altered the costume—particularly the shoulders and sleeves—the position of the Alexander medal, and the books in the background.Harper's 265 (August 1982), p. 34.Les peintures de Rembrandt au Louvre . Paris, 1982, p. 59.Rembrandt—from the Collection of the Hermitage Museum . Exh. cat., Bridgestone Museum of Art. Tokyo, 1982, unpaginated, introduction, under no. 9, fig. 21.Claude Lorrain, 1600–1682 . Exh. cat., National Gallery of Art. Washington, 1982, p. 463.in The Impact of a Genius: Rembrandt, His Pupils and Followers in the Seventeenth Century . Exh. cat., Groninger Museum, Groningen. Amsterdam, 1983, p. 26.Burlington Magazine 125 (November 1983), p. 669.A History of the Society of the Four Arts, Palm Beach, Florida: A Narrative of Significant Events from 1936 to 1983 . [Palm Beach?], n.d., unpaginated, ill. (gallery installation photograph).in Rembrandt in Eighteeenth-Century England . Exh. cat., Yale Center for British Art. [New Haven], 1983, pp. 37, 44, no. 80 and under no. 43.Artibus et Historiae no. 10 (1984), pp. 35–56, figs. 1, 9 (overall and detail).The Golden Age: Dutch Painters of the Seventeenth Century . New York, 1984, p. 60, fig. 68.Nederlands Kunsthistorisch Jaarboek 35 (1984), pp. 379, 406 n. 156, fig. 29.100 Years of Collecting in America: The Story of Sotheby Parke Bernet . New York, 1984, pp. 174–75, ill. (color).in The Royal Picture Gallery, Mauritshuis . Amsterdam, 1985, p. 270, under no. 76.Rembrandt, His Life, His Paintings . New York, 1985, pp. 280, 301–6, 308, 316, 348, fig. 334 (color).Storia dell'arte 57 (1986), pp. 108, 110, 128.in Rembrandt and the Bible . Exh. cat., Sogo Museum of Art, Yokohama. [Tokyo], 1986, pp. 27, 31–32.in Reynolds . Exh. cat., Royal Academy of Arts, London. New York, 1986, p. 166, fig. 48 (detail), under no. 4.in The Age of Correggio and the Carracci: Emilian Painting of the Sixteenth and Seventeenth Centuries . Exh. cat.Washington, 1986, p. 326.A Guide to Dutch Art in America . Grand Rapids, Mich., 1986, pp. 179, 182, fig. 258.Rembrandt: Mythos und Methode . Königstein, 1986, pp. 287, 357, 361, 363–64, 368, 402, no. 108, ill. p. 360 (color).Rembrandt's Enterprise: The Studio and the Market . Chicago, 1988, pp. 22, 25–26, 81, 86, 91, 97, 104, 113, 129 n. 24, p. 147 n. 67, colorpls. 2–3 (details), fig. 1.20.Art in the Making: Rembrandt . Exh. cat., National Gallery. London, 1988, p. 15, fig. 13.Rembrandt in the Collections of the National Gallery of Victoria . Melbourne, 1988, pp. 60, 74 n. 20.Rembrandt's Portrait: A Biography . New York, 1988, pp. 238–47.Art History 12 (June 1989), p. 170.Impressions of Faith: Rembrandt's Biblical Etchings . Exh. cat., Mardigian Library, University of Michigan. Dearborn, Mich., 1989, pp. 30–31.Rembrandt . London, 1989, unpaginated, no. 35, ill. (color).Rembrandt's Self-portraits: A Study in Seventeenth-Century Identity . Princeton, 1990, pp. 28, 31, 93.Art News 89 (Summer 1990), p. 134, ill. (color).Great Dutch Paintings from America . Exh. cat., Mauritshuis, The Hague. Zwolle, The Netherlands, 1990, pp. 36, 40, 48, 55.Rembrandt . London, 1990, pp. 31, 106–7, ill. (color).in Ben Broos. "Recent Patterns of Public and Private Collecting of Dutch Art." Great Dutch Paintings from America . Exh. cat., Mauritshuis. The Hague, 1990, p. 104.Bredius, Rembrandt en het Mauritshuis!!! . The Hague, 1991, pp. 80–81, under no. 13, fig. 1.Portraiture . Cambridge, Mass., 1991, pp. 80–82, fig. 32.Rembrandt: The Master & His Workshop . Exh. cat., Gemäldegalerie, Staatliche Museen zu Berlin. 1, New Haven, 1991, pp. 258, 260–61, under no. 43.Rembrandt . [Paris], 1991, p. 14, ill. (color).Kroniek van het Rembrandthuis no. 1 (1991), p. 4, notes that Rembrandt's output in 1653 was limited due to work being done in the house of his neighbor, Daniel Pinto.Rembrandt Studies . Princeton, 1991, pp. 191–93.Rembrandt: The Master & His Workshop . Exh. cat., Gemäldegalerie, Staatliche Museen zu Berlin. 1, New Haven, 1991, p. 250, under no. 41, fig. 41a, states that Rembrandt must have recalled this work when he painted the drapery for "Flora" (MMA 26.101.10) in the folowing year.Apollo , n.s., 136 (July 1992), p. 35.Burlington Magazine 134 (May 1992), pp. 286, 288, 291, 293, 296–97, fig. 10 (paint cross-section), argue that the Glasgow painting, not the Aristotle, was the first work made for Ruffo by Rembrandt.in Rembrandt och hans Tid: Människan i Centrum . Exh. cat., Nationalmuseum. Stockholm, 1992, p. 174, ill.Colnaghi in America: A Survey to Commemorate the First Decade of Colnaghi New York . New York, 1992, p. 22.Burlington Magazine 134 (May 1992), p. 298, argues that the measurements of paintings given in Ruffo documents are not exact but were meant to serve only as guides, and that attempts to calculate the original dimensions of this work should therefore not be taken too seriously.Die Selbstbildnisse der holländischen und flämischen Künstler in der Galleria degli Autoritratti der Uffizien in Florenz . Florence, 1992, p. 57, suggests that the composition of Philips Koninck's self-portrait in the Uffizi was inspired by this work.Rembrandt: Catalogo completo dei dipinti . Florence, 1992, pp. 175–76, no. 95, ill. (color).Intimacies & Intrigues: History Painting in the Mauritshuis . The Hague, 1993, pp. 269–71, 277, fig. 1.Mr. Technicolor . Absecon, N.J., 1993, p. 89.Iconographie et philosophie . Strasbourg, 1994, pp. 29, 164, ill. p. 181.Oud Holland 109, no. 1/2 (1995), pp. 34, 47–48.Tableau 18 (November 1995), p. 72, fig. 10.in "Paintings, Drawings, and Prints: Art-Historical Perspectives." Rembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship . Exh. cat., The Metropolitan Museum of Art. 2, New York, [1995], pp. 66, 68.in "Paintings, Drawings, and Prints: Art-Historical Perspectives." Rembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship . Exh. cat., The Metropolitan Museum of Art. 2, New York, [1995], pp. 5, 31, 65–70, 72, 115–16, no. 11, ill. (color).Art in America 83 (December 1995), pp. 54–55, ill. p. 57 (color).Dutch Painting 1600–1800 . New Haven, 1995, pp. 84, 90, fig. 102.Rembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship . Exh. cat., The Metropolitan Museum of Art. 1, New York, 1995, pp. 6, 24, 31–32, 34–35, 50, 56–57, 59, figs. 26–27, 54–57, 72–75 (overall, color details, details before and after cleaning, x-radiograph details, and photographic reconstruction), and ill. on cover (color detail).Dutch Paintings of the Seventeenth Century . Washington, 1995, pp. 244, 310, fig. 1.in The Dictionary of Art . 26, New York, 1996, p. 164.Images of Women in Seventeenth-Century Dutch Art: Domesticity and the Representation of the Peasant . Athens, Ga., 1996, p. 16, fig. 10.Studies in Conservation 41, no. 2 (1996), p. 124.in Timken Museum of Art: European Works of Art, American Paintings, and Russian Icons in the Putnam Foundation Collection . San Diego, 1996, pp. 89, 93.Hypotheses: Neo-Aristotelian Analysis no. 18 (Summer 1996), pp. 6–10.Rembrandt: A Genius and His Impact . Exh. cat., National Gallery of Victoria. Melbourne, 1997, pp. 40, 55 n. 28.in Rembrandt: A Genius and His Impact . Exh. cat., National Gallery of Victoria. Melbourne, 1997, pp. 171, 172 n. 17, under no. 24.in Rembrandt: A Genius and His Impact . Exh. cat., National Gallery of Victoria. Melbourne, 1997, pp. 27–28, 30 n. 74, fig. 8 (color).Simiolus 25, no. 1 (1997), pp. 78, 81.in Rembrandt: A Genius and His Impact . Exh. cat., National Gallery of Victoria. Melbourne, 1997, p. 378, under no. 97.in Rembrandt: A Genius and His Impact . Exh. cat., National Gallery of Victoria. Melbourne, 1997, p. 134, under no. 15.Looking at Seventeenth-Century Dutch Art: Realism Reconsidered . Cambridge, 1997, p. 126, fig. 80.in Rembrandt: A Genius and His Impact . Exh. cat., National Gallery of Victoria. Melbourne, 1997, p. 318, under no. 71.Belvedere no. 1 (1997), p. 18, fig. 15 (color).in Rembrandt's "Bathsheba Reading King David's Letter" . Cambridge, 1998, p. 5.Rembrandt's "Bathsheba Reading King David's Letter" . Cambridge, 1998, p. 152.Apollo 147 (February 1998), p. 55.Simiolus 26, no. 4 (1998), pp. 313, 316.Portrait of Dr. Gachet: The Story of a Van Gogh Masterpiece . New York, 1998, pp. 241, 299.Rembrandt's "Bathsheba Reading King David's Letter" . Cambridge, 1998, p. 203 n. 49.Rembrandt's "Bathsheba Reading King David's Letter" . Cambridge, 1998, pp. 32, 41–42.in Rembrandt's Treasures . Exh. cat., Rembrandt House Museum. Zwolle, The Netherlands, 1999, pp. 77, 119, fig. 78.New Republic (December 6, 1999), p. 50, states that Schama [see Ref. 1999] "pushes the available evidence much too far in his efforts" to reidentify Aristotle as Apelles.Ruffo en Rembrandt . Zutphen, The Netherlands, 1999, pp. 10, 43–51, 60, 65, 67, 73, 76–87, 89–94, 97, 103–4, 106–8, 111, 114, 125–26, 176 nn. 126–28, p. 177 n. 147, p. 180 n. 308, fig. 10.Kroniek van het Rembrandthuis nos. 1–2 (1999), p. 14, fig. 6.Rembrandt's Eyes . New York, 1999, pp. 567, 582–91, 594, 720 nn. 18, 23, 29, 32, ill. (color), argues that it depicts Apelles with a bust of Homer.Morgan: American Financier . New York, 1999, p. 568.Fictions of the Pose: Rembrandt Against the Italian Renaissance . Stanford, 2000, pp. 510, 610 n. 24.Art Bulletin 82 (June 2000), p. 365, rejects Schama's suggestion that it depicts Apelles.Rembrandt Creates Rembrandt: Art and Ambition in Leiden, 1629–1631 . Exh. cat., Isabella Stewart Gardner Museum. Boston, 2000, p. 119, under no. 16.Rembrandt's Etchings . Amsterdam, 2000, p. 23.in Greek Gods and Heroes in the Age of Rubens and Rembrandt . Exh. cat., National Gallery/Alexandros Soutzos Museum. Athens, 2000, p. 32, fig. 10.Rembrandt . London, 2000, pp. 241–45, 247, 253, 257, 293, fig. 159 (color).in La luce del vero: Caravaggio, La Tour, Rembrandt, Zurbarán . Exh. cat., Galleria d'Arte Moderna e Contemporanea, Bergamo. Cinisello Balsamo (Milan), 2000, p. 156.Rembrandt . Paris, 2000, pp. 68, 70, fig. 55 (color).Vermeer and the Delft School . Exh. cat., The Metropolitan Museum of Art. New York, 2001, pp. 381, 388, 396, 438 n. 9, notes that Rembrandt "may have had the 'paragone' of painting and sculpture in mind when he compared . . . the senses of touch and sight" in this work.The Poetry of Everyday Life: Dutch Painting in Boston . Exh. cat., Museum of Fine Arts, Boston. Boston, 2002, p. 42.Rethinking Rembrandt . Boston, 2002, p. 125.Rembrandt Rembrandt . Exh. cat., Kyoto National Museum. Kyoto, 2002, pp. 127, 202–3, 209 n. 126, no. 29, ill. (color, overall and detail) [German ed., Frankfurt, 2003, pp. 159, 247 n. 282].Rethinking Rembrandt . Boston, 2002, pp. 86–87.Per il collezionismo del Seicento in Sicilia: L"Inventario" di Antonio Ruffo principe della scaletta . Pisa, 2003, pp. XX, 129, publishes the Ruffo inventory.Rembrandt's Jews . Chicago, 2003, p. 5.Kroniek van het Rembrandthuis nos. 1–2 (2003), pp. 10, 18 n. 75, fig. 7.New York Review (October 7, 2004), p. 28.in Percorsi d'arte: tra vestigia dei Messapi il collezionismo dei Ruffo e l'evoluzione pittorica di Mino Delle Site . Exh. cat., convento di San Domenico, Cavallino. Salerno, 2004, p. 62.Collected Opinions: Essays on Netherlandish Art in Honour of Alfred Bader . London, 2004, pp. 73–87, fig. 1 (color).Duveen: A Life in Art . New York, 2004, pp. 71, 77, 120, 278–80, 476, ill.Metropolitan Museum of Art Bulletin 62 (Winter 2005), p. 41, fig. 39 (color).in The Wrightsman Pictures . New York, 2005, p. 27.Kroniek van het Rembrandthuis nos. 1–2 (2005), pp. 47–49, fig. 1.Time and Transformation in Seventeenth-Century Dutch Art . Exh. cat., Frances Lehman Loeb Art Center. Poughkeepsie, 2005, p. 267 n. 3.The Learned Eye: Regarding Art, Theory, and the Artist's Reputation: Essays for Ernst van de Wetering . Amsterdam, 2005, pp. 192, 202 n. 4.Van Cuyp tot Rembrandt: de verzameling Cornelis Hofstede de Groot . Exh. cat., Groninger Museum. Groningen, 2005, pp. 74, 305 n. 66.in Rembrandt's Late Religious Portraits . Exh. cat., National Gallery of Art. Washington, 2005, pp. 73, 130, under nos. 1 and 17.in Rembrandt's Late Religious Portraits . Exh. cat., National Gallery of Art. Washington, 2005, p. 76, fig. 3, under no. 2.in Rembrandt's Apostles . Exh. cat., Timken Museum of Art. San Diego, 2005, p. 16, fig. 6 [reprint of Ref. Wheelock 2005, exh. cat. Washington].in Rembrandt—Caravaggio . Exh. cat., Van Gogh Museum, Amsterdam. Zwolle, The Netherlands, 2006, pp. 20, 22, 29, fig. 20 (color).Rembrandt's Bankruptcy . Cambridge, 2006, pp. 48, 125–26, 128, 148–49, 170 n. 25, p. 189 nn. 64–66, 68, p. 190 n. 71, p. 192 nn. 26, 31–32, fig. 27 [expanded from Ref. Crenshaw 2000].Art News 105 (Summer 2006), p. 157, ill. p. 156 (color).in Uylenburgh & Son: Art and Commerce from Rembrandt to De Lairesse . Exh. cat., Dulwich Picture Gallery. Zwolle, The Netherlands, 2006, p. 279 n. 350.in Rembrandt? The Master and His Workshop . Exh. cat., Statens Museum for Kunst. [Copenhagen], 2006, p. 101 n. 68.Rembrandt . 2nd ed. Reinbek bei Hamburg, 2006, pp. 131–33, 161 n. 117, ill. (color).in Rembrandt: Quest of a Genius . Exh. cat., Museum Het Rembrandthuis, Amsterdam. Zwolle, The Netherlands, 2006, pp. 56, 59, fig. 58 (color) [Dutch ed., "Rembrandt: Zoektocht van een genie"].in Rembrandt? The Master and His Workshop . Exh. cat., Statens Museum for Kunst. [Copenhagen], 2006, pp. 45–46.Dutch Paintings in The Metropolitan Museum of Art . New York, 2007, vol. 1, pp. ix, xii, xvii, 164, 373 n. 6, ill. (color, frontispiece); vol. 2, pp. 549, 604, 617, 629–54, 661–62, 683, 736, 762, 848, 878, no. 151, colorpl. 151, figs. 170–71 (overall and color detail).Metropolitan Museum of Art Bulletin 65 (Summer 2007), pp. 22–25, 27–28, 53, 55, 70, figs. 21 (Huntington library photograph), 24 (color), 61 (New York Times photograph).Tronie und Porträt in der niederländischen Malerei des 17. Jahrhunderts . Berlin, 2008, pp. 129, 189, 424, no. 444, pl. 94.The Sixteenth Century Italian Paintings . 2, London, 2008, pp. 459–60 n. 26.in Rembrandt, pintor de historias . Exh. cat., Museo Nacional del Prado. Madrid, 2008, pp. 49–50, 219, fig. 20 (color).in Philippe de Montebello and The Metropolitan Museum of Art, 1977–2008 . New York, 2009, p. 36.in Philippe de Montebello and The Metropolitan Museum of Art, 1977–2008 . New York, 2009, p. 40, fig. 50 (color detail)."The Milkmaid" by Johannes Vermeer . Exh. cat., The Metropolitan Museum of Art. New York, 2009, p. 6.Metropolitan Museum of Art Bulletin 67 (Winter 2010), pp. 35, 37, fig. 60 (color).
Add to My Met Gallery
Print
Previous View
Enlarge
Zoom
