10 things about Marten & Oopjen

From the series 10 things...

Rembrandt’s portraits of Marten and Oopjen are leaving the Rijksmuseum. For the next five years they will be on display in the Louvre. On this page you can learn more about these phenomenal life-size masterpieces and discover some things you may not have known.

Marten&Oopjen Marten&Oopjen

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The tiles in Marten’s portrait are painted smaller to make him look larger

The two figures are the same size, but the floor tiles in Marten’s portrait are slightly smaller, making him appear to be larger and more imposing. The glove Marten has in his hand is a symbol of authority over his wife.

Marten & Oopjen, Rembrandt van Rijn, 1634

Portrait of Oopjen Coppit Portrait of Oopjen Coppit

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The couple were 17th-century jet-setters

Being portrayed so richly and in full length was, until then, reserved for monarchs and aristocrats. Then again, Marten and Oopjen also belonged to the innermost circle of the 17th-century beau monde.

Oopjen Coppit, Rembrandt van Rijn, 1634 (detail)

Portrait of Marten Soolmans Portrait of Marten Soolmans

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Marten and Oopjen were up on all the latest trends

In the painting, Oopjen’s feet are remarkably small, which was part of the feminine ideal. The big discs on Marten’s feet announce that he is on the cutting edge of contemporary fashion.

Marten Soolmans, Rembrandt van Rijn, 1634 (detail)

Marten&Oopjen Marten&Oopjen

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The paintings used to be called Maerten and Machteld

For years, it was thought that the couple depicted were Oopjen’s second husband Maerten Daey and his first wife Machteld. It was not until 1956 that the true identity of Marten and Oopjen was uncovered.

Marten & Oopjen, Rembrandt van Rijn, 1634

Portrait of Marten Soolmans Portrait of Marten Soolmans

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Marten had an unhappy childhood

All surviving accounts of Marten’s father, Jan Soolmans, describe him as a pretty nasty character. On more than eighty occasions he was called to task by the Reformed church council for his godless conduct.

Marten Soolmans, Rembrandt van Rijn, 1634 (detail)

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The paintings were a joint purchase by the Netherlands and France

The pendant portraits were a joint acquisition made by the Netherlands and France in early 2016. The Louvre and the Rijksmuseum have agreed to always display the two paintings together.

Taco Dibbits, Jet Bussemaker, Wim Pijbes and Erik van Ginkel standing before the paintings. Picture by Inge van Mill

Portrait of Oopjen Coppit Portrait of Oopjen Coppit

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Subtle clues link these portraits together

With the toe of her right foot peeking out from under her skirts, Oopjen seems to be moving towards her husband. This, like the glove, is a subtle clue that the two portraits belong together.

Oopjen Coppit, Rembrandt van Rijn, 1634 (detail)

Portrait of Oopjen Coppit Portrait of Oopjen Coppit

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Oopjen’s pale complexion was a fashion statement

To set off their paleness, women wore artificial facial moles, called mouches, made of textile with an adhesive. The fan in her right hand and her veil are furthermore meant to shield her exalted skin against the sun.

Oopjen Coppit, Rembrandt van Rijn, 1634 (detail)

Een scan van een schilderij Een scan van een schilderij

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Scans have brought to light hidden details

X-ray scans made during restoration have uncovered doors in the background of the portraits. The scans also reveal that the glove in Marten’s hand was originally larger and that the chain of Oopjen’s fan was longer.

X-ray scans of Marten and Oopjen

Marten&Oopjen Marten&Oopjen

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Marten and Oopjen used to hang above someone’s bed

Despite a price tag, the previous owner ‘simply’ had these paintings mounted on his bedroom wall. That owner was Baron De Rothschild, who hung Marten and Oopjen in the bedroom of his Paris home!

Marten & Oopjen, Rembrandt van Rijn, 1634