The Kunsthistorisches Museum in Vienna is presenting a major exhibition of works by Rembrandt and his pupil Hoogstraten. Both artists were masters of illusionism, and the museum is now juxtaposing the works of the teacher and the pupil, inviting visitors into a world full of illusions.
The Kunsthistorisches Museum in Vienna is presenting works by Rembrandt and his pupil Hoogstraten in a major exhibition. Both artists were masters of illusionism, and the museum is now juxtaposing the works of the teacher and the pupil, inviting visitors into a world full of illusions.
For the first time, the Kunsthistorisches Museum Vienna is organizing a major special exhibition on Rembrandt Harmensz. van Rijn (1606-1669). This show presents a collection of major works by the Dutch Baroque master that has never been seen before in Austria. A special approach has been chosen: Rembrandt’s paintings are juxtaposed with those of his talented pupil Samuel van Hoogstraten (1627-1678).
There was an intensive exchange of artistic challenges in Rembrandt’s workshop. Both artists saw themselves as exploratory painters who were constantly searching for new ways to depict nature and optical phenomena realistically. Rembrandt’s impressive skills in illusion techniques left a deep impression on Van Hoogstraten and shaped his artistic work.
The exhibition brings together works from different genres, which show the artistic competition and personal development of the two painters. Van Hoogstraten, who enjoyed great success at the Viennese court, is highlighted in particular. His “Introduction to the High School of Painting (Inleyding)”, published in 1678, a unique source on the art of painting, also offers valuable insights into Rembrandt’s workshop practice and his art theoretical convictions.
Light played a central role in 17th century Dutch painting, particularly in the depiction of illusions that appealed to all the senses. Rembrandt and Van Hoogstraten were masters of illusionism. The selection of around 60 works highlights their experiments with color and light. The exhibition also makes it clear that both artists were masters at creating deceptively real-looking realities. Paintings from all creative phases of both painters enter into an exciting dialog, giving visitors an insight into the similarities, developments and artistic interplay between the two artists. The show also traces the individual developments of their respective artistic oeuvres. Van Hoogstraten, who was also successful at the court of Emperor Ferdinand III (1637-1657) in Vienna, is particularly honored in this show.
The exhibition brings together the Rembrandt and Hoogstraten holdings of the Kunsthistorisches Museum for the first time, including important works such as Rembrandt’s “Large Self-Portrait”, “The Prophetess Hannah” and Van Hoogstraten’s “Old Man in the Window”. The show is complemented by important loans from national and international museums, such as Rembrandt’s “Girl in a Picture Frame” from the Royal Castle in Warsaw, his “Young Woman in Bed” from the National Galleries of Scotland in Edinburgh and Van Hoogstraten’s “Perspective View with a Young Man Reading” from the Dordrechtsmuseum as well as the “Eye Deceiver Still Life” from the Staatliche Kunsthalle Karlsruhe. Other important museums and private collectors are also contributing loans.
Museum Het Rembrandthuis in Amsterdam is a scientific partner of the exhibition, which also contributes to research into the era and its fascination with illusions. Both exhibitions will be accompanied by international research, which will be incorporated into the first catalogue raisonné on Van Hoogstraten. The works from the collection of the Kunsthistorisches Museum in Vienna have also undergone extensive technological research and illustrate the innovative approaches of the two painters.
At the beginning of the exhibition, visitors encounter the two artists in early self-portraits, which show their close stylistic connection. Even in this early work by the 18-year-old Van Hoogstarten, his talent can be recognized and the stylistic reference to his teacher is particularly clear. The show highlights his masterful use of light and color, which lends the works a three-dimensional and lively effect. A highlight in this respect is Rembrandt’s “The Holy Family with the Curtain” from Wilhelmshöhe Palace in Kassel. Van Hoogstraten’s treatise “Inleyding” is an important source for understanding Rembrandt’s art. At the same time, Rembrandt’s pupil also made an important contribution to the fame of his teacher.
The second room of the exhibition is dedicated to illusionistic effects, in which the artists masterfully play with framing, light and perspective to create true eye deceptions. When creating their works, both artists considered framing, positioning, coloring and lighting with regard to the place where they were to be hung. Rembrandt in particular mastered this and repeatedly played with the boundaries of the perceptible in his portraits. His pupil emulated him in this respect and even tried to outdo his master. Particularly impressive are the works in which the figures literally step out of the picture frame, such as Rembrandt’s “Girl in a Picture Frame” or Van Hoogstraten’s “Old Man in a Window”. Van Hoogstarten then makes trompe-l’œil paintings his signature.
Van Hoogstraten developed into a versatile artist who mastered various styles and responded to the preferences of his clients. In addition to still lifes, his broad oeuvre also includes genre paintings and allegories. His architectural perspectives are particularly impressive, including the “Inner Burgplatz in Vienna”, an illusionist masterpiece that brought him great success at the imperial court. The particular highlight of this work was the clock.
Rembrandt, who saw himself as an inquiring artist, also passed this view on to his pupil. Both showed a keen interest in the natural sciences, particularly optics, natural light and chamber light. Further knowledge is conveyed in cabinets in the exhibition. Impressions of the workshop and its practices are conveyed on the basis of the treatise and the results of research into the works of both artists are presented and their painting techniques are compared.
The last exhibition room is dedicated to history painting, which was considered the highest art form. Rembrandt’s works such as “Juno” from the Hammer Museum in Los Angeles illustrate his masterful use of light and theatricality. Van Hoogstraten’s “Triumph of Truth and Justice”, in which he deals with antiquity, can also be seen for the first time.
Illusionist art is still fascinating today, in an age of virtual realities and AI-generated images. An interactive room at the end of the exhibition invites the public to play with this timeless art form. A 3D reconstruction of Van Hoogstraten’s perspective box and other interactive elements build a bridge to the present day.
The exhibition “Rembrandt-Hoogstraten. Color and Illusion” was curated by Sabine Pénot, curator of Early Netherlandish and Dutch painting. It will take place from October 8, 2024 to January 12, 2025 at the Kunsthistorisches Museum in Vienna.
“Young woman in bed” © National Galleries of Scotland, photo: Antonia Reeve
“Girl in a picture frame” © The Royal Castle in Warsaw – Museum, photo: Andrzej Ring, Lech Sandzewicz
“Perspective view with a young man reading in a Renaissance palace” © Dordrechts Museum, photo: Bob Strik, Reprorek – all rights reserved
“Old Man in a Window” © KHM-Museumsverband
“Holy Family with the Curtain” © Hessen Kassel Heritage, Gemäldegalerie Alte Meister, photo: Arno Hensmanns
“The Inner Burgplatz in Vienna in a Fictitious Frame” © KHM-Museumsverband
