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