The Good Samaritan Arriving at the Inn

CC0 Public Domain Designation

Prints and Drawings

c. 1660

Attributed to Constantijn van Renesse
Dutch 1626–1680

Status: Currently Off View
Department: Prints and Drawings

Artist: Constantijn Daniel van Renesse
Title: The Good Samaritan Arriving at the Inn
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.: 1655–1665
Medium: Pen and brown ink, heightened with white chalk, on buff laid paper
Inscriptions: Inscribed recto, lower left, in brown ink: "Le Samaritain conduit a l'hostellerie son malade"; lower right, in brown ink: "167"; verso, lower left, in graphite: “P23”
Dimensions: 19.1 × 23.1 cm (7 9/16 × 9 1/8 in.)
Credit Line: The Charles Deering Collection
Reference Number: 1927.5191
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/49231/manifest.json

Clotilde Brière-Misme, “Autour de Rembrandt,” Bulletin des Musées de France (June 1949), pp. 122–28, fig. 6, p. 127 (as workshop of Rembrandt).
Otto Benesch, The Drawings of Rembrandt (London: Phaidon, 1957), vol. III, p. 143, under no. 518a (as pupil of Rembrandt).
Otto Benesch, The Drawings of Rembrandt (London: Phaidon, 1957), vol.V, p. 278, under no. 1018 (as pupil of Rembrandt).
Leiden, Stedelijk Museum ‘De Lakenhal’, Rembrandt als leermeester, 1 June–1 September 1956, p. 20, under no. 17 (as school of Rembrandt, ‘direct copy after painting?’).
Werner Sumowski, “Nachträge zum Rembrandt Jahre 1956,” Wissenschaftliche Zeitschrift der Humboldt-Univerität zu Berlin: Gesellschafts- und sprachwissenschaftiche Reihe, VII (1957–58), p. 255–281 (p. 232, ill. Fig. 58, p. 262) (as student of Rembrandt).
Roger-Marx, Claude, Rembrandt (Paris: Pierre Tisné, 1960), pp. 262–63, no. 97f (as studio of Rembrandt).
Peter Schatborn, “Van Rembrandt tot Crozat: Vroege verzamelingen met tekeningen van Rembrandt,” Nederlands Kunsthistorisch Jaarboek 32 (1981), 43–44 (ill. p. 43) (as Rembrandt school).
Martin Royalton-Kisch, Review of The Drawings by Rembrandt and His School in the Museum Boymans-van Beuningen by Jeroen Giltaij and Rembrandt: Een Gloeiend Palet. A Glowing palette. Paintings of Rembrandt and his School by Jeroen Giltaij and Rembrandt: Rembrandt et son école, dessins du Musée du Louvre by Emmanuel Starcky and Rembrandt: Peintres rembranesques au Louvre by Jacques Foucart and Jan Lievens 1607–1674: Prenten & Tekeningen/Prints and Drawings by Peter Schatborn, Burlington Magazine 132, no. 1043 (February 1990) (ill.), pp. 131-32 (as Willem Drost).
Martin Royalton-Kisch, Catalogue of Rembrandt and His School in the British Museum: Online Research Catalogue, 2010 no. 103 (as pupil of Rembrandt).

Art Institute of Chicago, Rembrandt After Three Hundred Years, Oct.25–Dec.7, 1969, pp. 180 and 235 (ill.), cat. 146; also the Minneapolis Institute of Arts, Dec. 22, 1969–Feb. 1, 1970; and the Detroit Institute of Arts, Feb. 24–Apr. 5, 1970 (as unidentified pupil of Rembrandt).
The Art Institute of Chicago, “Rubens, Rembrandt, and Drawing in the Golden Age”, September 28, 2019 - January 5, 2020, pp. 64, 66 (ill.), 311-12, 335, cat. 17, cat. by Victoria Sancho Lobis, et. al.

Pierre Crozat (1665-1740), Paris [inscription (Lugt 3612), recto, lower right, in pen and brown ink]. 15th Earl of Shrewsbury (1753–1827), Alton Towers, Staffordshire, England [Deering collection records]. Charles Deering (1852–1927), Chicago [stamp (Lugt 516) verso, lower right, in blue]; by descent to his daughters, Mrs. Chauncey McCormick (née Marion Deering; 1886–1965), Chicago and Mrs. Richard Ely Danielson (née Barbara Deering; 1885–1957), Chicago; given to the Art Institute of Chicago, 1927.

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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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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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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.