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Executed one year after the couple married, these are the only standing, life-size, full-length wedding pendants Rembrandt ever painted.
Oopjen Coppit
Rembrandt van Rijn
Oopjen Coppit
Rembrandt van Rijn
To emphasize their milky complexion women wore little fabric beauty marks called mouches. Oopjen sports one on her left temple.
Oopjen Coppit
Rembrandt van Rijn
Like the fan in her right hand, the veil is meant to protect her delicate skin from the sun.
Oopjen Coppit
Rembrandt van Rijn
This ring hanging from a chain is likely a memento of a beloved relative.
Oopjen Coppit
Rembrandt van Rijn
Oopjen wears a gold ring with diamonds and a ring with a black stone on her right forefinger, one of which is probably her wedding ring.
Oopjen Coppit
Rembrandt van Rijn
Hendrick, Marten and Oopjen’s first son, was born in the summer of 1634. Oopjen’s rounded stomach suggests that she is pregnant.
Oopjen Coppit
Rembrandt van Rijn
The cuffs of her gown are edged with luxurious lace trimming. Here Rembrandt has shown just how gauze-like and fragile lace really was.
Oopjen Coppit
Rembrandt van Rijn
Oopjen lifts up her skirt and alights from a step in the direction of Marten, a subtle hint that the two portraits belong together.
Oopjen Coppit
Rembrandt van Rijn
The curtain in Oopjen’s portrait extends into that of Marten, as does the plinth on the floor.
Oopjen Coppit
Rembrandt van Rijn
Oopjen’s foot peeping out from under her dress is noticeably small. Small feet were part of an ideal of feminine beauty.
Marten Soolmans
Rembrandt van Rijn
Rembrandt distinguished himself from other painters by infusing his portraits with greater vivacity and dynamism.
Marten Soolmans
Rembrandt van Rijn
Marten’s left shoulder is cast in shadow. As a result it recedes somewhat, making his pose less static.
Marten Soolmans
Rembrandt van Rijn
The gesture with the glove makes clear that Oopjen is his wife. However the glove is also a symbol of a husband’s authority over his wife.
Marten Soolmans
Rembrandt van Rijn
The floor extends through in both paintings. However, the tiles underneath Marten are longer and narrower so as to enhance his stateliness.
Marten Soolmans
Rembrandt van Rijn
The relief created by the thicker areas of paint makes it stand out even more.
Marten Soolmans
Rembrandt van Rijn
Rembrandt’s signature reads 'Rembrandt.f.1634'. The f stands for fecit, which means ‘made’ (it) in Latin.
Marten Soolmans
Rembrandt van Rijn
The rosettes on Marten’s shoes are huge! With these ‘disks’ Marten demonstrates his awareness of the latest fashions.
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