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.
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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


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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)


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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)
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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


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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


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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)


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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)
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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
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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