The North Carolina Museum of Art




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Rembrandt in America
October 30, 2011 – January 22, 2012

Thank you for your interest in Rembrandt in America, the largest collection of Rembrandt paintings ever assembled in the United States. The exhibition is the first major exhibition to explore how the desire for Rembrandt paintings by American collectors in turn fueled critical connoisseurship and research about the artist’s work. The exhibition will present more than 30 autograph paintings by the Dutch master on loan from private collections and more than two dozen American art museums.

High Resolution Images

Below are approved PR images of select works from the exhibition. Click the thumbnails to download high-resolution versions for non-commercial editorial usage. All images must be used in full with no cropping, overprinting, or alterations. Full captions must be used with each image.

To obtain credentials to access the images, please contact Natalie Braswell, Assistant Marketing Manager, at (919) 664-6795 or by email.

Circle of Rembrandt van Rijn, Young Man with a Sword, circa 1633–1645, oil on canvas, 46 1/2 x 38 in., North Carolina Museum of Art, Raleigh, Gift of the Samuel H. Kress Foundation

Rembrandt van Rijn and workshop, Bust of a Young Man with a Gold Chain, circa 1629 or 1632, oil on wood, 22 3/4 x 19 1/4 in., Cleveland Museum of Art, Bequest of John L. Severance, 1942.644

Rembrandt van Rijn, Flora, circa 1654, oil on canvas, 39 3/8 x 36 1/8 in., Metropolitan Museum of Art, Gift of Archer M. Huntington, in memory of his father, Collis Potter Huntington, 1926 (26.101.10), © 2010 The Metropolitan Museum of Art/Art Resource, New York

Rembrandt van Rijn, Joris de Caulerii, 1632, oil on canvas transferred to panel, 40 1/2 x 33 1/4 in., Fine Arts Museums of San Francisco, Roscoe and Margaret Oakes Collection, 66.31

Rembrandt van Rijn, Lucretia, 1666, oil on canvas, 43 3/8 x 36 5/16 in., Minneapolis Institute of Arts, The William Hood Dunwoody Fund, 34.19

Rembrandt van Rijn, Man in a Fur-Lined Coat, circa 1655–60, oil on canvas, 45 1/4 x 34 3/4 in., Toledo Museum of Art, Toledo, Ohio, Clarence Brown Fund, 1977.50

Rembrandt van Rijn, Portrait of a Girl Wearing a Gold-Trimmed Cloak, 1632, oil on panel, 23 7/8 x 17 3/4 in. (oval), Private collection, New York

Rembrandt van Rijn, Self-Portrait, 1659, oil on canvas, 33 1/4 x 26 in., National Gallery of Art, Andrew W. Mellon Collection, 1937.1.72

Rembrandt van Rijn, The Operation (Touch), circa 1624–25, oil on panel, 8 1/2 x 7 in., Private collection, New York

Rembrandt van Rijn, Portrait of a Young Man, 1666, oil on canvas, 32 1/8 x 25 3/8 in., Nelson-Atkins Museum of Art, Kansas City, Missouri, Purchase: William Rockhill Nelson Trust, 31.76

Contact Information

North Carolina Museum of Art
Communications Department
Natalie Braswell
Assistant Marketing Manager
E-mail or (919) 664-6795

Social Media

@ncartmuseum
#RembrandtUSA
facebook.com/ncartmuseum

Exhibition Quick Links

News release (pdf)
Image sheet (pdf)
Related Events
Rembrandt biography (pdf)
Bibliography (pdf)

Other Venues

Cleveland Museum of Art
February 19 – May 28, 2012

Minneapolis Institute of Arts
June 24 – September 16, 2012

Story Ideas

“A good Rembrandt exhibition in any year is a good idea.” – ArtNews 1956

Rembrandt in America offers a wide range of interesting and unique topics that can serve as the basis for attractive news or feature stories. Possibilities include:

  • Collecting in America: The history of Rembrandt collecting in the United States began in the late 19th century, when wealthy American Industrialists cultivated a passion for collecting European Old Masters, especially Dutch. America’s greatest Industrialists, such as J. Paul Getty, Andrew Mellon and George Eastman, desired these works of art as trophies for their collections, and so a collecting frenzy erupted and paintings by Rembrandt left Europe in substantial numbers for America.
  • Rembrandt Connoisseurship and Authentication: In this highly competitive and lucrative market many of the pictures that came to America were misattributed to Rembrandt by scholars and art dealers. In many respects, America became the proving ground for new Rembrandt discoveries and reattributions.
  • Rembrandt at the NCMA: In 1956, shortly after the North Carolina Museum of Art opened its doors to the public for the first time, Dr. William G. Valentiner presented the first Museum’s first exhibition, Rembrandt and his Pupils, on what would have been Rembrandt van Rijn’s 350th birthday year.