Christ Washing the Disciples' Feet

CC0 Public Domain Designation

Painting and Sculpture of Europe

c. 1630

Attributed to Jan Lievens (Dutch, 1607–1674)

Status: Currently Off View
Department: Painting and Sculpture of Europe

Artist: Jan Lievens
Title: Christ Washing the Disciples' Feet
Place: Netherlands (Artist's nationality:)
Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.: 1620–1645
Medium: Oil on paper, mounted on panel
Dimensions: 46.8 × 60.6 cm (18 3/8 × 23 7/8 in.)
Credit Line: Robert A. Waller Memorial Fund
Reference Number: 1934.385
IIIF Manifest The International Image Interoperability Framework (IIIF) represents a set of open standards that enables rich access to digital media from libraries, archives, museums, and other cultural institutions around the world. Learn more.: https://api.artic.edu/api/v1/artworks/19322/manifest.json

“Rembrandt Work Recently Bought by The Art Institute,” The Art News 33, no. 13 (1934), p. 3.
Bulletin of The Art Institute of Chicago: Report for the Year Nineteen Hundred Thirty-Four 29 (1935), pp. 18, 33.
Julius Held, “Seventeenth Century Dutch Paintings Recently Added to American Collections,” Art in America 23 (1935), pp. 114-19, fig. 3.
“Rembrandt Grisaille,” Art Digest 9 (1935), p. 6, ill. on cover.
“Will Show Rembrandt with His Pupils’ Work,” Art Digest 10 (1935), p. 7.
“Rembrandt and His Circle, Chicago,” The American Magazine of Art 29 (1936), p. 49.
Wilhelm R. Valentiner, “Some Early Compositions by Rembrandt,” Burlington Magazine 68 (1936), pp. 80-81, pl. 3A.
Adolph Goldschmidt, “The Style of Dutch Painting in the Seventeenth Century,” The Art Quarterly 2 (1939), p. 17, fig. 20.
Helen F. Mackenzie, “The Background of Dutch Painting,” Bulletin of The Art Institute of Chicago: Special Dutch Exhibition Number 36 (1942), p. 86.
Hans-Martin Rotermund, “Rembrandt und die religiösen Laienbewegungen in den Niederlanden seiner Zeit,” Nederlands Kunsthistorisch Jaarboek 4 (1952/53), pp. 164-6.

Art Institute of Chicago, Paintings, Drawings and Etchings by Rembrandt and his Circle, 1935/36, cat. 2, as Rembrandt.
Worcester Art Museum, Rembrandt and his Circle: A Loan Exhibition of Paintings, Drawings and Etchings, 1936, cat. 2, as Rembrandt.
Indianapolis, John Herron Art Museum, Dutch Paintings, Etchings, Drawings, Delftware of the Seventeenth Century, 1937, cat. 60, as Rembrandt.
Hartford, Connecticut, Wadsworth Atheneum, Night Scenes, 1940, cat. 30, as Rembrandt.
New York, Duveen Galleries, Paintings by the Great Dutch Masters, 1942, cat. 41, as Rembrandt.
Art Institute of Chicago, Rembrandt after Three Hundred Years, 1969, cat. 81, as Jan Lievens; traveled to Minneapolis Institute of Arts, 1969 and Detroit Institute of Arts, 1970.

Possibly Abraham Jacobsz Greeven, Amsterdam [inventory, 10 March 1660 lists “Een schilderijtie daer Christus de veeten wast van Rembrandt,” see C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, vol. 6, London, 1916, p. 94, no. 118b]. Possibly Harman Becker, Amsterdam [inventory of 19 October 1678 lists “een graeutie van Rembrant daer Cristus de voete wast,” see A. Bredius, “Rembrandiana,” Oud Holland 28 (1910), p. 198]. Probably Huybert Ketelaar, Amsterdam, sold 19 June 1776, no. 175, to M. F. Klemper for 4 florins, 75 [see Hofstede de Groot, vol. 6, 1916, p. 94, no. 119, as on panel 19 x 24 inches, who links this picture with the grisaille in the Becker collection mentioned above]. Count Johann Nepomuk Wilczek (died 1922), Burg Kreuzenstein, near Vienna; his estate [Rotermund 1956 states that the picture was discovered in the estate of a Vienna collector]; E. and A. Silberman Galleries, Vienna and New York, by 1934 [Silberman probably acquired the picture directly from Wilczek’s heirs, see the vague hints in Rotermund 1952/53 and 1956, “Rembrandt Grisaille,” Art Digest 9 (1935) and “Rembrandt Works Recently Bought by The Art Institute,” Art News 33, no. 13 (1934)]; sold to the Art Institute, 1934.

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Date Dates are not always precisely known, but the Art Institute strives to present this information as consistently and legibly as possible. Dates may be represented as a range that spans decades, centuries, dynasties, or periods and may include qualifiers such as c. (circa) or BCE.

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