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拍品專文
The present sheet can be compared to a drawing of a seated male signed 'Johannes de Jonge Raven' in the Staatliche Graphische Sammlung, Munich (inv. 1567) (W. Sumowski, Drawings of the Rembrandt School, IX, New York, 1985, p. 4808, no. 2141).
Very little is known of Johannes Raven de Jonge's career and oeuvre. Probably a student of Rembrandt in the 1640s, he is listed as a painter in Amsterdam in 1659. Professor Sumowski notes that stylistically Raven's drawings relate to the later part of Rembrandt's oeuvre, specifically his nudes of the mid-1650s.
The characterisation of the artist's graphic style by Peter Schatborn when describing the Munich sheet seems to fit particularly well with the present drawing: Raven uses 'fairly carelessly placed penlines, with double and sometimes overlapping contours, closely placed together accents of short lines and here and there darker and broader accents. Some shadows are indicated by zig zag hatching... The strokes of the brush along or next to the contours are also characteristic of Raven's drawing style' (Rembrandt: The Master and his Workshop. Drawings and Etchings, exhib. cat., Berlin, Kupferstichkabinett and elsewhere, 1991-2, p. 154, no. 50).
We thank Peter Schatborn and Professor Werner Sumowski for their help in cataloguing this drawing.
Very little is known of Johannes Raven de Jonge's career and oeuvre. Probably a student of Rembrandt in the 1640s, he is listed as a painter in Amsterdam in 1659. Professor Sumowski notes that stylistically Raven's drawings relate to the later part of Rembrandt's oeuvre, specifically his nudes of the mid-1650s.
The characterisation of the artist's graphic style by Peter Schatborn when describing the Munich sheet seems to fit particularly well with the present drawing: Raven uses 'fairly carelessly placed penlines, with double and sometimes overlapping contours, closely placed together accents of short lines and here and there darker and broader accents. Some shadows are indicated by zig zag hatching... The strokes of the brush along or next to the contours are also characteristic of Raven's drawing style' (Rembrandt: The Master and his Workshop. Drawings and Etchings, exhib. cat., Berlin, Kupferstichkabinett and elsewhere, 1991-2, p. 154, no. 50).
We thank Peter Schatborn and Professor Werner Sumowski for their help in cataloguing this drawing.