Female Nude Reclining with Arm Raised

CC0 Public Domain Designation

Prints and Drawings

c. 1665

Attributed to Aert de Gelder
Dutch, 1645-1727

Status: Currently Off View
Department: Prints and Drawings

Artist: Aert de Gelder
Title: Female Nude Reclining with Arm Raised
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.: 1660–1669
Medium: Pen and brown ink and brush and brown wash on tan laid paper
Dimensions: 23.3 × 18 cm (9 3/16 × 7 1/8 in.)
Credit Line: Margaret Day Blake Collection
Reference Number: 1947.464
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/60726/manifest.json

Art Institute of Chicago, Bulletin of the Art Institute of Chicago 18:1 (February 1949), p. 12 (ill.).
Agnes Mongan, ed., One Hundred Master Drawings (Cambridge, 1949), p. 92–93 (ill.).
Marilyn Robb, “Art News from Chicago,” Art News 18:8 (December 1949), p. 50 (ill.).
Otto Benesch, The Drawings of Rembrandt V (London, 1957), p. 304, no. 1127, fig. 1423 (as Rembrandt).
J. G. van Gelder, Dutch Drawings and Prints (London, 1959), p. 47, no. 70 (ill.).
Roger-Marx, Claude, Rembrandt (Paris: Pierre Tisné, 1960), pp. 293–294, no. 121d (ill) (as Rembrandt).
Walther Scheidig, Rembrandt als Zeichner (Leipzig: E. A. Seemann, 1962), p. 59, pl. 137 (as Rembrandt).
Joseph-Émile Muller, Rembrandt (Paris, 1968), p. 233-234 (ill.) and 271.
Robert Hale and Terrence Coyle, Anatomy Lessons from the Great Masters (1977), p. 140 (ill.).
Nathan Goldstein, Figure Drawing: The Structure, Anatomy, and Expressive Design of Human Form, 4 ed. (Englewood Cliffs, New Jersey, 2004), pp. 325-326, fig. 7.31.
Shelley Perlove and George S. Keyes (editors), Seventeenth-Century European Drawings in Midwestern Collections (Notre Dame, Ind.: University of Notre Dame Press, 2015) p. 173 (as Arent de Gelder).

Cambridge, Mass., Fogg Art Museum, Harvard University, “Seventy Master Drawings,” Nov. 27, 1948-Jan. 6, 1949, n.p., cat. 37.
Rotterdam, the Museum Boymans van Beuningen, “Rembrandt,” May 18-Aug. 5, 1956, pp. 170-171, cat. 235; also Amsterdam, Rijksmuseum, August 8-Oct. 21, 1956.
New York, the Pierpont Morgan Library, “Rembrandt: Drawings from American Collections,” Mar. 15-Apr. 16, 1960, p. 52, no. 72, pl. 64; also Cambridge, Mass., Fogg Art Museum, Harvard University, Apr. 27-May 29, 1960 (as Rembrandt).
New York, Wildenstein and Company, “Master Drawings from The Art Institute of Chicago,” Oct. 17-Nov. 30, 1963, n.p., no. 31, pl. XII (as Rembrandt).
Art Institute of Chicago, “Rembrandt After Three Hundred Years,” Oct. 25-Dec. 7, 1969, pp. 175-176 and 228 (ill.), no. 136; also Minneapolis Institute of Arts, Dec. 22, 1969-Feb. 1, 1970, and Detroit Institute of Arts, Feb. 24-Apr. 5, 1970 (as Rembrandt) .
Art Institute of Chicago, “A Quarter Century of Collecting: Drawings Given to The Art Institute of Chicago 1944-1970 by Margaret Day Blake,” Apr. 28-Jun. 7, 1970, n.p., no. 9 (ill.) (as Rembrandt).
Art Institute of Chicago, “Imaging the Body: From Fragment To Total Display,” January 28-April 28, 1992, cat. by Barbara Maria Stafford, p. 28 (as Rembrandt).
The Art Institute of Chicago, “Rubens, Rembrandt, and Drawing in the Golden Age”, September 28, 2019 - January 5, 2020, pp. 126, (ill.), 129-30, 297-98, cat. 40, cat. by Victoria Sancho Lobis, et. al.

M. [Lugt 1841, 1842]. Sold by an unknown bookseller, London, to Colnaghi, London, before 1947 [letter from G. Mayer of Colnaghi dated April 14, 1948]; sold to the Art Institute of Chicago, 1947.

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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.

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