Early Reception of Rembrandt’s Hundred Guilder Print: Jan Steen’s Emulation

Rembrandt,  Hundred Guilder Print, second state of two,  ca. 1649,  New York, The Metropolitan Museum of Art

Among the earliest visual responses to Rembrandt’s master print is Jan Steen’s Village Wedding of 1653. In it, Steen transformed somber and ill figures from the Hundred Guilder Print into raucously playful, joking, or drunk participants in the farce of a marriage ritual. In transforming the serious biblical subject into a comic village wedding, Steen departed from the general reverential regard for the print and demonstrated his respectful rivalry with Rembrandt.

DOI: 10.5092/jhna.2017.9.1.10

Acknowledgements

I appreciatively thank H. Perry Chapman and Peter van der Coelen for perceptive comments on a version of this essay and Friso Lammertse for discussing Steen’s Village Wedding with me. I offer posthumous thanks to Walter for his friendship over the decades, and for his ever sharp and insightful comments, from Aristotleto Dissolute Household.

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Review: Peer Review (Double Blind)
DOI: 10.5092/jhna.2017.9.1.10
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Recommended Citation:
Amy Golahny, "Early Reception of Rembrandt’s Hundred Guilder Print: Jan Steen’s Emulation," Journal of Historians of Netherlandish Art 9:1 (Winter 2017) DOI: 10.5092/jhna.2017.9.1.10