
Christ Washing the Disciples' Feet
Jan Lievens·c. 1630
Historical Context
Jan Lievens' Christ Washing the Disciples' Feet from around 1630 depicts the act of humble service that Christ performed at the Last Supper, a subject of particular significance in Reformed Dutch theology that emphasized service and humility. Lievens, who shared a studio with Rembrandt in Leiden in the late 1620s, developed an independent approach to biblical narrative that combined dramatic lighting with monumental figure types influenced by Rubens.
Technical Analysis
Lievens' oil-on-paper technique, mounted on panel, demonstrates his bold, energetic approach with dramatic Caravaggesque lighting and broadly painted figures. The large-scale ambition and dynamic composition distinguish his style from Rembrandt's more intimate approach to biblical subjects.
Provenance
Possibly Abraham Jacobsz Greeven, Amsterdam [inventory, 10 March 1660 lists "Een schilderijtie daer Christus de veeten wast van Rembrandt," see C. Hofstede de Groot, A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century, vol. 6, London, 1916, p. 94, no. 118b]. Possibly Harman Becker, Amsterdam [inventory of 19 October 1678 lists "een graeutie van Rembrant daer Cristus de voete wast," see A. Bredius, “Rembrandiana,” Oud Holland 28 (1910), p. 198]. Probably Huybert Ketelaar, Amsterdam, sold 19 June 1776, no. 175, to M. F. Klemper for 4 florins, 75 [see Hofstede de Groot, vol. 6, 1916, p. 94, no. 119, as on panel 19 x 24 inches, who links this picture with the grisaille in the Becker collection mentioned above]. Count Johann Nepomuk Wilczek (died 1922), Burg Kreuzenstein, near Vienna; his estate [Rotermund 1956 states that the picture was discovered in the estate of a Vienna collector]; E. and A. Silberman Galleries, Vienna and New York, by 1934 [Silberman probably acquired the picture directly from Wilczek’s heirs, see the vague hints in Rotermund 1952/53 and 1956, “Rembrandt Grisaille,” Art Digest 9 (1935) and “Rembrandt Works Recently Bought by The Art Institute,” Art News 33, no. 13 (1934)]; sold to the Art Institute, 1934.



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