Rembrandt’s 'Saskia van Uylenburgh in Arcadian Costume' travelled the UK in 2022 and 2023 as part of our Masterpiece tour. Ed, one of our Educators, and Laura, our Associate Curator of Renaissance Painting, explore the stories surrounding this portrait of Rembrandt's wife, Saskia van Uylenburgh.
Rembrandt, 'Saskia van Uylenburgh in Arcadian Costume', 1635
About the work
Overview
Saskia van Uylenburgh, the daughter of a burgomaster of Leeuwarden in Friesland, was Rembrandt’s first wife. Here, she is 23 years old; they have been married for a year. She is dressed as Flora, the Roman goddess of spring and fertility.
Her gorgeous gown is a seventeenth-century version of Renaissance dress and she carries an enormous bunch of spring flowers that includes tulips, roses, primulas and tiny pinks. More flowers decorate her neck and forehead. Pearls hang from her ears and peep from the crown of her head. Delicate green leaves wind round the stick in her other hand.
In their seven years of marriage, Saskia had four children. Only their son Titus survived. A year after he was born, Saskia died, so the ‘goddess of spring’ never reached the summer of her life.
In-depth
Saskia van Uylenburgh, the daughter of a burgomaster of Leeuwarden in Friesland, was 23 years old and had been married to Rembrandt for a year when he painted her portrait. She is in Arcadian costume (in other words, dressed as a shepherdess, though a very grand little shepherdess).
She has gold embroidery on her wide belt and on the brocade edge to her spring-green over-gown. Her sumptuous dress bells out over her cream satin petticoats and the light, almost transparent sleeves fall at her sides in gauzy folds. The low wide neck pushes up her breasts, edging them with delicate lace. Her long red hair waves down to brush her shoulders, and glowing pearls hang from her ears and peep over the crown of her head. The necklace of tiny wild flowers is echoed around her brow and a sprig of juniper sways over her head.
Her costume is not of the seventeenth century, nor of Roman times: it’s a dressing-up version of Renaissance dress, something that Rembrandt liked to use for intimate portraits and the big biblical scenes he aspired to paint, regardless of when they were actually thought to have taken place. They added drama or poetic meaning to the picture.
The painting is sometimes referred to as ‘Saskia as Flora’, the Roman goddess of spring and fertility, a title much more in keeping with her costume and with the profusion of flowers that she holds, primulas, tulips, roses and tiny pinks among them. In the other hand is her shepherdess’s stick, entwined with delicate green leaves. At the time, such classical representations – the Seasons, Greek or Roman gods and goddesses or more abstract figures such as Justice, Mercy, Envy – were popular in all the arts. Poets, writers and composers all looked back at the ancient world for inspiration.
But it’s possible that there’s another dimension to this portrait. Saskia grasps the stick firmly as if for support, rather than just as a decorative prop. The hand clutching the flowers is stiff and tense from the weight and unwieldiness of the bouquet. She appears to lean back slightly, as if easing discomfort, carrying unaccustomed weight. Suspended across her gown just below the waist, a little chain draws attention to her belly. Her expression is difficult to decipher. Her large blue eyes gaze not at us, but a little over to the right to someone standing near – the artist perhaps. Her oval face with soft cheeks is enlivened by a little half-smile. We can‘t discount the possibility that when Saskia stood as the model for this painting she was visibly pregnant, and that Rembrandt has portrayed her as such.
During the seven years of their marriage, Saskia had three children who died very young. Only the fourth child, Titus, survived into adulthood. Titus was born in 1641. Saskia died a year later and Titus in 1668, a year before his father. So for Rembrandt, although the promise of abundant life was fulfilled for a while, it didn’t endure – except in his portrait of Saskia as Flora, goddess of spring.
Key facts
Details
- Full title
- Saskia van Uylenburgh in Arcadian Costume
- Artist
- Rembrandt
- Artist dates
- 1606 - 1669
- Date made
- 1635
- Medium and support
- oil on canvas
- Dimensions
- 123.5 × 97.5 cm
- Acquisition credit
- Bought with contributions from the Art Fund, 1938
- Inventory number
- NG4930
- Location
- Room 22
- Collection
- Main Collection
- Frame
- 19th-century English Frame
Provenance
Additional information
Text extracted from the ‘Provenance’ section of the catalogue entry in Neil MacLaren, revised and expanded by Christopher Brown, ‘National Gallery Catalogues: The Dutch School: 1600–1900’, London 1991; for further information, see the full catalogue entry.
Exhibition history
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2014Loan to Kelvingrove Art Gallery and MuseumKelvingrove Art Gallery and Museum (Glasgow City Council)15 October 2014 - 17 May 2015
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2017Rubens and RembrandtThe National Gallery (London)22 March 2017 - 6 August 2017
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2022The National Gallery Masterpiece Tour 2022Oriel Davies Gallery12 March 2022 - 26 June 2022The Beacon Museum24 September 2022 - 8 January 2023Carmarthenshire County Museum14 January 2023 - 23 April 2023
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2024Rembrandt – Hoogstraten: Color and IllusionKunsthistorisches Museum Wien8 October 2024 - 12 January 2025
Bibliography
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1756P. Remy, Catalogue raisonné des tableaux, sculptures, tant de marbre que de bronze, desseins et estampes des plus grands maîtres… qui composent le cabinet de feu monsieur le Duc de Tallard, Paris, 22 March 1756 - 13 May 1756
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1830
J. Smith, A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish, and French Painters: In Which is Included a Short Biographical Notice of the Artists, with a Copious Description of Their Principal Pictures […], vol. 2, London 1830
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1854G.F. Waagen, Treasures of Art in Great Britain: Being and Account of the Chief Collections of Paintings, Drawings, Sculptures, Illuminated Mss. […], vol. 2, trans. E. Eastlake, London 1854
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1857G.F. Waagen, Treasures of Art in Great Britain: Being and Account of the Chief Collections of Paintings, Drawings, Sculptures, Illuminated Mss. […], translated from German by Elizabeth Eastlake, 3 vols, London 1857, vol. 3
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1883J.M. Gray, Notes of the Edinburgh Loan Exhibition of 1883, Edinburgh 1883
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1890A.F. Steuart, Catalogue of the Pictures at Dalkeith House, Dalkeith 1890
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1893É. Michel, Rembrandt, sa vie, son oeuvre et son temps, Paris 1893
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1897W. von Bode and C. Hofstede de Groot, The Complete Work of Rembrandt, 8 vols, Paris 1897
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1898A. MacKay, Catalogue of the Pictures in Montagu House Belonging to the Duke of Buccleuch, London 1898
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1907C. Hofstede de Groot, Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, 10 vols, London 1907
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1939Anon., 'Rembrandt's Saskia as Flora', Apollo, XXIX, 1939, pp. 17-21
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1941E. Kieser, 'Uber Rembrandts Verhältnis zur Antike', Zeitschrift für Kunstgeschichte, X, 1941
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1960Maclaren, Neil, National Gallery Catalogues: The Dutch School, 2 vols, London 1960
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1961J. Held, 'Flora, Goddess and Courtesan', in M. Meiss (ed.), De Artibus Opuscula, XL: Essays in Honour of Erwin Panofsky, New York 1961, pp. 201-18
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1973M. Louttit, 'The Romantic Dress of Saskia van Ulenborch: Its Pastoral and Theatrical Associations', The Burlington Magazine, CXV/842, 1973, pp. 317-26
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1983A.M. Kettering, The Dutch Arcadia: Pastoral Art and Its Audience in the Golden Age, Ottawa 1983
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1983C. Brown, 'Rembrandt's "Saskia as Flora" X-Rayed', in Essays in Northern Art presented to Egbert Haverkamp-Begemann on his sixtieth Birthday, Doornspijk 1983, pp. 48-51
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1988S. Alpers, Rembrandt's Enterprise: The Studio and the Market, London 1988
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1988D. Bomford et al., Rembrandt (exh. cat. The National Gallery, 12 October 1988 - 17 January 1989), London 1988
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1989J. Mills and R. White, 'Paint Media Analyses', National Gallery Technical Bulletin, XIII, 1989, pp. 69-71
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1989A. Werbke, 'Rembrandts "Landschaftsradierung mit drei Bäumen" als visuell-gedankliche Herausforderung', Jahrbuch der Berliner Museen, XXXI, 1989, pp. 225-50
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1991Maclaren, Neil, revised by Christopher Brown, National Gallery Catalogues: The Dutch School, 1600-1900, 2nd edn (revised and expanded), 2 vols, London 1991
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1991C. Grimm, Rembrandt selbst: Eine Neubewertung seiner Porträtkunst, Stuttgart 1991
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1991C. Brown, J. Kelch and P.J.J. van Thiel, Rembrandt: The Master and his Workshop (exh. cat. Gemäldegalerie SMPK at the Altes Museum, 12 September - 10 November 1991; Rijksmuseum, 4 December - 1 March 1992; The National Gallery, London, 25 March - 24 May 1992), New Haven 1991
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1992J.L. Williams, Dutch Art and Scotland: A Reflection of Taste (exh. cat. Scottish National Gallery, 13 August - 18 October 1992), Edinburgh 1992
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1992J.M. Gray, 'Notes of the Edinburgh Loan Exhibition of 1883', in J.L. Williams, Dutch Art and Scotland: A Reflection of Taste, Edinburgh 1992, pp. 16-17
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1993C. Tümpel, Rembrandt: All Paintings in Colour, Antwerp 1993
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1993A. Wilson, National Art Collecting: A Celebration of the National Art Collections Fund, London 1993
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1999S. Schama, Rembrandt's Eyes, New York 1999
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1999J.L. Arias Bonel, 'Rembrandt y Ganimedes', Goya, 270, 1999, pp. 146-52
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2000H. Berger, Fictions of the Pose: Rembrandt Against the Italian Renaissance, Stanford 2000
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2001
C. Baker and T. Henry, The National Gallery: Complete Illustrated Catalogue, London 2001
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2001J.L. Williams, Rembrandt's Women (exh. cat. Scottish National Gallery, 8 June - 2 September 2001; Royal Academy of Arts, 22 September -16 December 2001), Edinburgh 2001
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2002A. Chong, Rethinking Rembrandt, Boston 2002
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2002S.S. Dickey, 'Rembrandt and Saskia: Art, Commerce, and the Poetics of Portraiture', Fenway Court, XXX, 2002, pp. 17-47
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2004K.A. Schröder, Rembrandt (exh. cat. Albertina, 26 March - 27 June 2004), Vienna 2004
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2006M. De Winkel, Fashion and Fancy: Dress and Meaning in Rembrandt's Paintings, Amsterdam 2006
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2006D. Bomford et al., Rembrandt (exh. cat. The National Gallery, 12 October 1988 - 17 January 1989), London 2006
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2006D. Bull et al., Rembrandt-Caravaggio (exh. cat. Rijksmuseum, 24 February - 18 June 2006), Zwolle 2006
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2008D. Hirschfelder, Tronie und Porträt in der niederländischen Malerei des 17. Jahrhunderts, Berlin 2008
About this record
If you know more about this painting or have spotted an error, please contact us. Please note that exhibition histories are listed from 2009 onwards. Bibliographies may not be complete; more comprehensive information is available in the National Gallery Library.
Images
The Masterpiece Tour
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