Rembrandt Harmensz van Rijn, Music-making society, 1626, oil on wood, 63.4 x 47.5 cm, Rijksmuseum Amsterdam, acquired with the support of the Rembrandt Association and the Stichtig tot Besorderung van Belangen van het Rijksmuseum.

The exhibition focuses on one of the most consequential strands in this constellation: the Orient—an umbrella term for diverse Eastern non-European cultures rather than a well-defined geographic designation—fired Rembrandt’s imagination throughout his career. It inspired the painter has he envisioned the settings of biblical histories, one of his favorite genres. Several self-portraits show the artist in exotic costumes. His copies of miniatures created at the court of the Great Mughals were a tribute to Asian creativity and taste without precedent in Dutch art. Last but not least, he was an eager consumer of Japanese paper, which he liked to use for his etchings.

Aelbert Cuyp, Group portrait of the Sam family, around 1653. Oil on canvas, 168 x 240 cm, Szépművészeti Múzeum, Budapest.

The selection of exhibits is not limited to Rembrandt’s oeuvre. In addition to works by his colleagues and students, the presentation includes publications and other sources that illustrate the contemporary vision of the Orient. Placing Rembrandt’s work in this broader context reveals both the ways in which his take on the East was typical of his time and what set his perspective on its cultures apart from those of his contemporaries. And there is yet another reason why Rembrandt’s Orient scrutinizes Golden-Age Dutch artists’ responses to Eastern artifacts: by contrasting their own daily surroundings with these models, they made a key contribution to the genesis and definition of the specific European identity that to this day has remained a subject of ongoing renegotiation.

31.10.2020–14.02.2021

Claes Jansz Visscher II and Pieter Bast, Panorama of Amsterdam as seen from the IJ, 1611. Engraving and etching, 44.1 x 147.4 cm, Rijksmuseum, Amsterdam, Rijksprentenkabinet.

Thomas Wijck, Merchants with goods in a Mediterranean port, around 1660/70. Oil on canvas, 108.5 x 88.5 cm, Fabre Museum, Montpellier.

Rembrandt Harmensz van Rijn, Abraham Francen, 1657. Etching, drypoint, and graver, 15.8 x 20.9 cm, Kunstmuseum Basel, Kupferstichkabinett, gift from Eberhard W. Kornfeld, Bern.

Jan van der Heyden, Room corner with rarities, 1712. Oil on canvas,75 x 63.5, Szépművészeti Múzeum, Budapest.

Pieter Lastman, Jephthah and his daughter, 1611, oil on wood, 122.5 x 200 cm, Kunst Museum Winterthur, gift from the Jakob Briner Foundation, 2018 © SIK-ISEA, Zurich (Lutz Hartmann).

Rembrandt Harmensz van Rijn (1606–1669), David hands Goliath's head over to King Saul, 1627. Oil on oak, 27.4 x 39.7 cm, Kunstmuseum Basel, Max Geldner bequest.

Rembrandt Harmensz van Rijn (1606–1669), Daniel and Cyrus before the idol of Bel, 1633, oil on wood, 23.5 x 30.2 cm, The J.Paul Getty Museum, Los Angeles.

Johan Teyler, View of the Nile, from the series "Views of the Mediterranean", 1679-1683. Pen in brown, 11.9 x 23.2 cm, Rijksmuseum, Amsterdam, Rijksprentenkabinet, Legacy FG Waller, Amsterdam.

JFF after Andries Beeckman, The Batavia market, after 1688. Oil on canvas, 144 x 209 cm, Tropical Museum, Amsterdam, Collection Nationaal Museum van Wereldculturen. Coll.no. TM-118-167.