Gerbrand van den Eeckhout (Dutch, Amsterdam 1621–1674 Amsterdam)
Oil on canvas
20 x 24 1/2 in. (50.8 x 62.2 cm)
Bequest of Annie C. Kane, 1926
Not on view
Annie C. Kane, New York (by 1923–d. 1926)
Amsterdam. Frederik Muller & Cie. "Maîtres hollandais du XVIIe siècle," July 10–September 15, 1906, no. 65 (as by Pieter de Hooch).
Pensacola, Fla. Pensacola Art Center. "Opening exhibition," October 26–November 30, 1955, no catalogue.
Jacksonville, Fla. Jacksonville Art Museum. December 15, 1955–January 30, 1956, no catalogue.
Raleigh. North Carolina Museum of Art. "Rembrandt and His Pupils," November 16–December 30, 1956, no. 26 (of pupils; as "Social Gathering in a Loggia").
Westport, Conn. Westport Community Art Association. "Music in Art," March 25–April 13, 1963, no catalogue?
St. Petersburg, Fla. Museum of Fine Arts. "Dutch Life in the Golden Century," January 21–March 2, 1975, no. 21.
Atlanta. High Museum of Art. "Dutch Life in the Golden Century," April 4–May 4, 1975, no. 21.
New York. The Metropolitan Museum of Art. "The Age of Rembrandt: Dutch Paintings in The Metropolitan Museum of Art," September 18, 2007–January 6, 2008, no catalogue.
F. Schmidt-Degener. Letter to Harry B. Wehle. November 16, 1931, judging from a photograph, tentatively attributes the picture to Eeckhout.
W. R. Valentiner. Rembrandt and His Pupils. Exh. cat., North Carolina Museum of Art. Raleigh, 1956, p. 117, no. 26, ill., mentions "a similar composition, signed and dated 1652, formerly in the collection of Langton R. Douglas, New York" (now Worcester Art Museum, Worcester, Mass.).
R. Roy. "Studien zu Gerbrand van den Eeckhout." PhD diss., Universität Wien, 1972, p. 232, no. 141 [see Ref. Sumowski 1983–94], tentatively dates it to the mid-1650s.
Franklin W. Robinson. Dutch Life in the Golden Century. Exh. cat., Museum of Fine Arts, St. Petersburg, Fla. St. Petersburg, Fla., 1975, pp. 34–35, no. 21, ill., dates it to the early 1650s, but also notes that the costume of the man sitting at left indicates a date in the late 1650s.
Werner Sumowski. Drawings of the Rembrandt School. Ed. Walter L. Strauss. Vol. 4, New York, 1981, p. 1796, under no. 825x.
Werner Sumowski. Gemälde der Rembrandt-Schüler. Vol. 2, G. van den Eeckhout–I. de Joudreville. Landau/Pfalz, 1983–[94?], p. 747, no. 507, ill. p. 870, dates it about 1652–55.
Peter C. Sutton inMasters of Seventeenth-Century Dutch Genre Painting. Exh. cat., Philadelphia Museum of Art. Philadelphia, 1984, p. 201, fig. 2, under no. 43, relates it to the painting in Worcester.
Wayne E. Franits. Paragons of Virtue: Women and Domesticity in Seventeenth-Century Dutch Art. Cambridge, 1993, pp. 44, 208 n. 89, fig. 29, interprets the gesture of the man sitting with his head in his hand as indicating melancholy caused by unrequited love.
Walter Liedtke inRembrandt/Not Rembrandt in The Metropolitan Museum of Art: Aspects of Connoisseurship. Exh. cat., The Metropolitan Museum of Art. Vol. 2, "Paintings, Drawings, and Prints: Art-Historical Perspectives."New York, , pp. 22, 145, under no. 47.
V[olker]. Manuth inAllgemeines Künstlerlexikon: die bildenden Künstler aller Zeiten und Völker. Vol. 32, Munich, 2002, pp. 234, 236.
Wayne Franits. Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution. New Haven, 2004, pp. 179, 289 n. 23, fig. 163.
Walter Liedtke. Dutch Paintings in The Metropolitan Museum of Art. New York, 2007, vol. 1, pp. 185, 190–92, 360, no. 43, colorpl. 43; vol. 2, p. 844, calls it "entirely typical of Van den Eeckhout in the early 1650s".
Adriaan E. Waiboer inVermeer et les maîtres de la peinture de genre. Exh. cat., Musée du Louvre. Paris, 2017, p. 406, fig. 128 (color).
A similar composition by Eeckhout, signed and dated 1652, is in the Worcester Art Museum, Worcester, Massachusetts.
Artist: Gerbrand van den Eeckhout (Dutch, Amsterdam 1621–1674 Amsterdam)Date: 1650Medium: Pen and brown ink, brown and grey wash, over black chalk. Framing line in pen and brown ink.Accession: 65.104On view in:Not on view
Artist: Gerbrand van den Eeckhout (Dutch, Amsterdam 1621–1674 Amsterdam)Date: 1642–43Medium: Pen and brown ink, brown wash, over black and red chalk, with framing line in pen and black inkAccession: 41.187.4On view in:Not on view