{"data":{"id":94840,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/94840","is_boosted":false,"title":"Young Woman at an Open Half-Door","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhBAAFAPQAACgiHiojHzAnHykkICslICslIS8mIC4nIS0oIjMqITQrITUqIjkvKDUwKj0yKT01LUM1J0U2KlJGOgAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAAIf8LSW1hZ2VNYWdpY2sOZ2FtbWE9MC40NTQ1NDUALAAAAAAEAAUAAAUQ4IAcQyM5ysMECRkIhxJBIQA7","width":11622,"height":13925,"alt_text":"A young woman peers out to the right from from a Dutch door whose bottom half is closed. She wears a brown dress with a corset and a red beaded necklace."},"main_reference_number":"1894.1022","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1645,"date_end":1645,"date_display":"1645","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Rembrandt van Rijn (Dutch, 1606\u20131669)\nWorkshop of Rembrandt van Rijn (Dutch, 1606\u20131669)","place_of_origin":"Holland","description":"<p>This young woman, with her sidelong glance and the ambiguous lift at the corner of her mouth, exemplifies the playful nature of Rembrandt van Rijn\u2019s character studies, called <em>tronies<\/em>, as well as his use of doorways and windows as clever framing devices. However, the overall flatness of this composition argues against Rembrandt\u2019s authorship. It may have been created by a member of his prolific workshop and then endorsed as a studio product with the artist\u2019s signature and date.<\/p>\n","short_description":"This painting of a young woman, with her sidelong glance and the ambiguous lift at the corner of her mouth, exemplifies the playful nature of Rembrandt\u2019s character studies, called tronies, as well as his clever use of doorways and windows as framing devices. However, the overall flatness of this work suggests that it might have been painted by a member of his workshop and then endorsed as a studio product with the artist\u2019s signature and date.","dimensions":"102.5 \u00d7 85.1 cm (40 3\/8 \u00d7 33 1\/2 in.); Framed: 121.6 \u00d7 104.4 \u00d7 5.7 cm (47 7\/8 \u00d7 41 1\/8 \u00d7 2 1\/4 in.)","dimensions_detail":[{"depth":null,"width":85,"height":102,"diameter":null,"clarification":null},{"depth":5,"width":104,"height":121,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":"Inscribed bottom center, on door: Rembrandt f. 1645","credit_line":"Mr. and Mrs. Martin A. Ryerson Collection","catalogue_display":null,"publication_history":"W[illiam] Buchanan, Memoirs of Painting, with a chronological history of the importation of pictures by the great masters into England since the French Revolution, vol. 2, London, 1824, p. 72, no. 163.\n\nJohn Smith, A Catalogue raisonn\u00e9 of the works of the most eminent Dutch, Flemish, and French Painters, vol. 7, London, 1836, no. 532.\n\nC. Vosmaer, Rembrandt. Sa vie et ses oeuvres, 2nd ed., The Hague, 1877, p. 538.\n\nL[ouis] G[onse], \u201cLa vente de San Donato,\u201d Chronique des arts et de la curiosit\u00e9, no. 11, March 13, 1880, pp. 82-83.\n\nWilhelm Bode, Studien zur Geschichte der holl\u00e4ndischen Malerei, vol. 2, Braunschweig, 1883, pp. 497, 609, no. 373.\n\nEug\u00e8ne Dutuit, Tableaux et dessins de Rembrandt.  Catalogue historique et descriptif.  Suppl\u00e9ment \u00e0 l\u2019oeuvre complet du Rembrandt, Paris, 1885, pp. 9, 11, 21, 68, no. 310.\n\nArt Institute of Chicago Annual Report, 1891, pp. 10-11, 31, no. 5.\n\nEmile Michel, Rembrandt, sa vie, son oeuvre et son temps, Paris, 1893, French ed.?\n\nArt Institute of Chicago Annual Report, 1895, p. 43. \n\nWilhelm Bode and C. Hofstede de Groot, The Complete Work of Rembrandt.  History, description and heliographic reproduction of all the master\u2019s pictures with a study of his life and his art, vol.  4, 1900, no. 301, fig. 301.\n\nArt Institute of Chicago, General Catalogue of Paintings, Sculpture and other Objects of Art in the Museum, 1901, no. 11, ill.\n\nMalcolm Bell, Rembrandt van Rijn, London, 1901, p. 156.\n\nArt Institute of Chicago, Important facts regarding The Art Institute of Chicago with reproductions of the Demidoff Masterpieces, Chicago, 1905, p. 9, ill. p. 10\n\nArt Institute of Chicago, General Catalogue of Sculpture, Paintings, and other Objects, Chicago, 1907, p. 156, ill.\n\nArt Institute of Chicago, General Catalogue of Sculpture, Paintings, and other Objects, Chicago, 1907, p. 159-60, ill.\n\nAdolf Rosenberg, Rembrandt.  Des Meisters Gem\u00e4lde, 3rd, ed., ed. W.R. Valentiner (Klassiker der Kunst), Stuttgart and Leipzig, 1909, pp. 323 ill., 560.\n\nC. Hofstede de Groot, A Catalogue raisonn\u00e9 of the Works of the Most Eminent Dutch Painters of the Seventeenth Century Based on the Work of John Smith, trans. Edward G. Hawke, vol. 6, London, 1916, pp. 187-8, no. 324.\n\nJohn C. van Dyke, Rembrandt and his School. A Critical Study of the Master and his Pupils with a New Assignment of their Pictures, New York, 1923, p. 160, Plate XXXVII, no. 145.\n\nDaniel Catton Rich, \u201cDie Ausstellung F\u00fcnf Jahrhunderte der Fr\u00fchmalerei\u2019 in Chicago,\u201d Pantheon 12 (1933), p. 376. \n\nHans Tietze, Meisterwerke europ\u00e4ischer Malerei in Amerika (Vienna, 1935), p. 337, no. 174, ill. \n\nAbraham Bredius, The Paintings of Rembrandt, Vienna and London, 1936, p. 15, no. 367. \n\nJakob Rosenberg, Rembrandt, Cambridge, Mass., 1948, p. 51, fig. 78.\n\nCharles Fabens Kelley, \u201cChicago: record years,\u201d Art News 51, 4 (1952), pp. 57, 59, ill.\n\nA. B. de Vries, Rembrandt, Baarn, 1956, p. 54.\n\nJakob Rosenberg, Seymour Slive, E.H. Ter Kuile, Dutch Art and Architecture 1600-1800, Harmondsworth, 1966, p. 97.\n\nFrederick A. Sweet, \u201cGreat Chicago Collectors,\u201d Apollo 84 (1966), p. 190, pl. 5.\n\nAbraham Bredius, Revised by H. Gerson, Rembrandt. The Complete Edition of the Paintings, London, 1969, pp. 288, 579, no. 367. \n\nBenjamin A. Rifkin, \u201cRembrandt and His Circle, Part 3\u201d, Art News 68, 7 (1969), pp. 33, ill., 90.\n\nJuri Kusnezow, \u201cNeue Forschungen zu Rembrandts \u2018Danae\u2019,\u201d Bildende Kunst, no. 7 (1970), p. 377, fig. 7.\n\nJohn D. Morse, Old Master Paintings in North America, New York, 1979, pp. 229 \u201330, ill. 213.\n\nSotheby Parke Bernet & Co., Highly Important Old Master Drawings from the Collection of Tobias Christ of Basel, April 9, 1981, p. 67, under no. 32.\n\nArt Institute of Chicago 100 Masterpieces, Chicago, 1983, p. 18, pl. 22.\n\nWerner Sumowski, Drawings of the Rembrandt School, ed. and trans. by Walter L. Strauss, vol. 8, New York, 1984, p. 4056, under no. 1804x.\n\nGary Schwartz, Rembrandt, his life, his paintings, New York, 1985, p. 243, fig. 269.\n\nWerner Sumowski, Gem\u00e4lde der Rembrandt-Sch\u00fcler, vol. 3, Landau\/Pfalz, [1986], pp. 1951, 1954, 2010, no. 1326, p. 1326.\n\nPeter C. Sutton, A Guide to Dutch Art in America, Grand Rapids, 1986, pp. 48, 50, fig. 67.\n\nChristian T\u00fcmpel, Rembrandt. Mythos und Methode, Antwerp, 1986, pp. 263, 426, no. A57.\n\nChristian T\u00fcmpel, Rembrandt, Paris, 1986, pp. 263, 426, no. A 57. \n\nJ. Bruyn, review of Werner Sumowski, Gem\u00e4lde der Rembrandt-Sch\u00fcler, vol. 2 in Oud Holland 101 (1987), pp. 299-30, fig. 6.\n\nDavid R. Smith, \u201c\u2019I Janus:\u2019 Privacy and the Gentlemanly Ideal in Rembrandt\u2019s Portraits of Jan Six,\u201d Art History 11 (1988), 51, fig. 50. \n\nJ. Bruyn, review of Werner Sumowski, Gem\u00e4lde der Rembrandt-Sch\u00fcler, vol. 3 in Oud Holland 102 (1988), pp. 328-29, 333 n. 30.\n\nJacques Foucart, Peintres rembranesques au Louvre, les dossiers du d\u00e9partement des peintures, no. 35, exh. cat., Mus\u00e9e du Louvre, Paris, 1988, pp. 80-81, ill.\n\nWalter Liedtke, \u201cThe Collectors and Their Ideals,\u201d in Ben Broos, Great Dutch Paintings from America, exh. cat. (The Hague, Mauritshuis, 1990), p. 35.\n\nWalter Liedtke, review of Nationalmuseum, Stockholm, Rembrandt and his Age in Burlington Magazine 134 (1992), p. 830.\n\nRembrandt van Rijn, Girl at a Window, exh. cat., Dulwich Picture Gallery, Dulwich, 1993, p. 64, under no. 13, ill, 65.\n\nNeil Harris, \u201cChicago\u2019s Dream, a World\u2019s Treasure: The Art Institute of Chicago, 1893-1993,\u201d Chicago, [1993], p. 24, pl. 6.\n\nAlbert Blankert, \u201cRembrandt and his Followers: Notes on Conneoisseurshop\u2014its Potential and Pitfalls\u201d in Rembrandt and his Pupils. Papers given at a Symposium in Nationalmuseum, Stockholm, 2-3 October 1992, ed. G\u00f6rel Cavalli-Bj\u00f6rkman, Stockholm, 1993, pp. 94, 97 n. 23.\n\nWalter Liedtke, \u201cSome Paintings not by Rembrandt in the Metropolitan Museum\u201d Rembrandt and his Pupils. Papers given at a Symposium in Nationalmuseum, Stockholm, 2-3 October 1992, ed. G\u00f6rel Cavalli-Bj\u00f6rkman, Stockholm, 1993, p. 138.\n\nArthur Wheelock, \u201cA \u2018Girl with a Broom\u2019: A Problem of Attribution\u201d in Rembrandt and his Pupils. Papers given at a Symposium in Nationalmuseum, Stockholm, 2-3 October 1992, ed. G\u00f6rel Cavalli-Bj\u00f6rkman, Stockholm, 1993, pp. 142-55, figs. 6, 7.\n\nMichiel Roscam Abbing, De schilder & schrijver Samuel van Hoogstraten 1627-1678: Eigentijdse bronnen & oeuvre van gesigneerde schilderijen, Leiden, 1993, p. 141, n. 42.\n\nWerner Sumowski, Gem\u00e4lde der Rembrandt-Sch\u00fcler, vol. 6, Landau\/Pfalz, [1994], p. 3628, no. 1326.\n\nCeleste Brusati, Artifice and Illusion.  The Art and Writing of Samuel van Hoogstraten, Chicago and London, 1995, p. 278 n. 62, as implausible as Hoogstraten.\n\nCeleste Brusati, Artifice and Illusion.  The Art and Writing of Samuel van Hoogstraten, Chicago and London, 1995, p. 278 n. 62.\n\nWalter Liedtke in Rembrandt\/Not Rembrandt in The Metropolitan Museum of Art:  Aspects of Connoisseurship, exh. cat., New York, Metropolitan Museum of Art, 1995, vol. 2, pp. 28, 38, 136.\n\nArthur K. Wheelock, Jr., The Collections of the National Gallery of Art, Systematic Catalogue, Dutch Paintings of the Seventeenth Century, Washington, D.C., 1995, pp. 292, 295 n. 19, fig. 6.\n\nR\u00fcdiger Klessmann, \u201cEine Schenkung an Polen.  Holl\u00e4ndische Gem\u00e4lde aus der Sammlung Lanckoronska,\u201d Weltkunst 17 (1995), pp. 2253-54, fig. 5.\n\nJoLynn Edwards, Alexandre-Joseph Paillet, Expert et marchand de tableaux \u00e0 la fin du XVIIIe si\u00e8cle, Paris, 1996, p. 304, no. 120.\n\nSimon Schama, Rembrandt\u2019s Eyes, New York, 1999, pp. 523, 525, ill. \n\nL\u00e9on Krempel, Studien zu den datierten Gem\u00e4lden des Nicolaes Maes (1634-1693), Petersberg, 2000, pp. 34, 367, no. F 9, fig. 431.\n\nRembrandt et son \u00e9cole. Collection du mus\u00e9e de l\u2019Ermitage de Saint P\u00e9tersbourg, exh. cat., Mus\u00e9e des Beaux-Arts, Dijon, 2003, pp. 152-154, fig. 29a.\n\nJonathan Bikker, Willem Drost (1633-1659):  A Rembrandt Pupil in Amsterdam and Venice (New Haven and London, 2005, pp. 152-153, 189, fig. R21a.\n\nThijs Weststeijn, The Visible World. Samuel van Hoogstraten\u2019s Art Theory and the Legitimation of Painting in the Dutch Golden Age, Amsterdam, 2008, pp. 145, 149, fig. 55. \n\nCelia Hilliard, \"'The Prime Mover': Charles L. Hutchinson and the Making of the Art Institute of Chicago,\" Art Institute of Chicago Museum Studies 36,1 (2010), pp. 43, 44.\n\nCatherine Scallen, \"Is it a Rembrandt?,\" in The Primacy of the Image in Northern European Art, 1500-1700. Essays in Honor of Larry Silver, Leiden, 2017, pp. 553-563, fig. 41.1.\n\nJennifer Scott and Helen Hillyard, Rembrandt\u2019s Light, London, 2019, p. 29, fig. 10. \n\nJeroen Giltaij, Het grote Rembrandt boek. Alle 684 schilderijen, Zwolle, 2022, p. 256, no. 402.\n\nSabine P\u00e9not, ed., Rembrandt - Hoogstraten. Colour and Illusion, exh. cat. (Vienna: Hannibal, 2024), 38, 165, 168 (ill.), 169 cat. 80 as by Hoogstraten, 258.\n\nNathalie Maciesza, Epco Runia, eds., Samuel van Hoogstraten: The Illusionist, exh. cat. (Zwolle: Wbooks, 2025), 6 (ill.), 47 fig. 30, 124 fig. 102, 125, 140 as by Hoogstraten.\n\nLeonore van Sloten and David de Witt, \"Samuel van Hoogstraten: Painting the Visible World. Rembrandt's Impact,\" in Samuel van Hoogstraten (1627-1678): Catalogue Raisonn\u00e9, The Hague, 2025, no. 9, accessed April 22, 2024, <https:\/\/vanhoogstraten.rkdstudies.nl\/catalogus-schilderijen\/rembrandts-impact\/>","exhibition_history":"London, British Institution, Pictures of the Italian, Spanish, Flemish, Dutch, and French Schools, 1818, no. 100.\n\nLondon, British Institution, Pictures by Italian, Spanish, Flemish, Dutch, French and deceased English masters, 1844, no. 23. \n\nLondon, British Institution, Pictures by Italian, Spanish, Flemish, Dutch, French and English masters, 1857, no. 87.\n\nArt Institute of Chicago, Works of Old Dutch Masters, 1890, no. 5.\n\nArt Institute of Chicago, Paintings, Sculptures and other objects exhibited during the World\u2019s Congresses, 1893, no. 5.\n\nNew York, Metropolitan Museum of Art, The Hudson-Fulton Celebration, 1909, no. 91.\n\nDetroit Institute of Arts, Loan Exhibition of Paintings by Rembrandt, no. 42.\n\nArt Institute of Chicago, Century of Progress, 1933, no. 75.\n\nArt Institute of Chicago, Century of Progress, 1934, no. 107.\n\nAmsterdam, Rijksmuseum, Rembrandt Tentoonstelling, 1935, no. 12.\n\nArt Institute of Chicago, Paintings, Drawings, and Etchings by Rembrandt and his Circle, 1935\/1936, no. 4, traveled to Worcester Art Museum.\n\nArt Institute of Chicago, Paintings by the Great Dutch Masters of the Seventeenth Century, 1942, no. 27.\n\nPhiladelphia Museum of Art, Diamond Jubilee Exhibition. Masterpieces of Painting, 1950, no. 37.\n\nNew York, Metropolitan Museum of Art, Dutch Painting.  The Golden Age. 1954, traveled to Toledo Museum of Art and Toronto, Art Gallery of Toronto\n\nArt Institute of Chicago, Rembrandt after Three Hundred Years.  An Exhibition of Rembrandt and his Followers, no. 8, traveled to Minneapolis Institute of Arts and Detroit Institute of Arts.\n\nBerlin, Altes Museum, Rembrandt: The Master and his Workshop, September 13 - November 10, 1991, cat. 72, as attributed to Samuel van Hoogstraten; Amsterdam, Rijksmuseum, December 4, 1991 - March 1, 1992; London, National Gallery, March 26 - May 24, 1992.\n\nVienna, Kunsthistorisches Museum, Rembrandt - Hoogstraten. Colour and Illusion, Oct. 8, 2024\u2013Jan. 12, 2025, fig. 80 as by Hoogstraten; Amsterdam, Museum Rembrandthuis, The Illusionist. Samuel van Hoogstraten, Feb. 1\u2013May 4, 2025, fig. 30 and 102 as by Hoogstraten.","provenance_text":"De Gueffier, Paris; sold Paillet, Paris, 1 March 1791, no. 67, \u201cUne jeune Fille du pays de Frise, appuy\u00e9e devant une crois\u00e9e\u201d (a young girl from Friesland leaning on a half-door\u201d) together with a painting at half-length of a young soldier in armor, buckling his sword belt. Fran\u00e7ois-Antoine Robit, Paris, sold Paillet and Delaroche, Paris, May 11 and following, 1801, no. 120, as a pendant to no. 119, portrait of a young warrior, for 2500 fr. to Lafontaine as an agent for Michael Bryan [see Edwards 1996, p. 304]; to George Hibbert, London [Hibbert and Sir Simon Clarke supplied the funds for Bryan\u2019s extensive purchases at the Robit sale and retained many of the pictures]; offered for sale, Christie\u2019s London, 13 1829, no. 68, bought in; by descent to Nathaniel Hibbert, until until 1875 [lent by him to London 1857 and memorandum dated April 28, 1905 of a conversation with Holland Hibbert in the Art Institute archives; copy in curatorial file]; by descent to A. Holland Hibbert [for this and the following transaction see the memorandum cited above]; sold by him to Prince Paul Demidoff (died 1885), San Donato, 1880; offered for sale Florence, Pillet, Le Roy and Mannheim, March 15-April 10, 1880, no. 1114, engraved, bought in [a half-length of a young warrior buckling his sword belt was no. 1120 in this sale, also engraved, and sold with 1894.1022 in the Gueffier, Robit and Hibbert sales, see Bikker 2005, no. R21]; by descent to Princess Demidoff (formerly Princess Lise Troubetzkoi), 1885; sold through Durand-Ruel, Paris, June 1890, as part of a group of Dutch and Flemish paintings, many from the Demidoff collection, with funds advanced by Martin A. Ryerson and other trustees of the Art Institute [annual report 1891]; the cost of 1894.1022 was re-imbursed by Ryerson.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1895,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":false,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":0,"color":{"h":252,"l":44,"s":6,"percentage":1.8537244568355623e-6,"population":3},"latitude":null,"longitude":null,"latlon":null,"is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 213","gallery_id":2147483623,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":81339,"artist_title":"Workshop of Rembrandt van Rijn","alt_artist_ids":[],"artist_ids":[81339],"artist_titles":["Workshop of Rembrandt van Rijn"],"category_ids":["PC-10"],"category_titles":["Painting and Sculpture of Europe"],"term_titles":["oil on canvas","woman","oil paint (paint)","oil painting","17th Century","portraits: female subject","doors","paint","portrait","canvas","paint","painting","painting","painting (image making)","painting techniques","painting","european painting","Century of Progress","world's fairs","Chicago World's Fairs"],"style_id":"TM-13770","style_title":"17th Century","alt_style_ids":[],"style_ids":["TM-13770"],"style_titles":["17th Century"],"classification_id":"TM-66","classification_title":"oil on canvas","alt_classification_ids":["TM-10387","TM-12855","TM-9","TM-54"],"classification_ids":["TM-66","TM-10387","TM-12855","TM-9","TM-54"],"classification_titles":["oil on canvas","paint","portrait","painting","european painting"],"subject_id":"TM-13813","alt_subject_ids":["TM-8582","TM-12540","TM-12169","TM-11299","TM-12176"],"subject_ids":["TM-13813","TM-8582","TM-12540","TM-12169","TM-11299","TM-12176"],"subject_titles":["woman","portraits: female subject","doors","Century of Progress","world's fairs","Chicago World's Fairs"],"material_id":"TM-2451","alt_material_ids":["TM-3124","TM-2577","TM-13502"],"material_ids":["TM-2451","TM-3124","TM-2577","TM-13502"],"material_titles":["oil paint (paint)","canvas","paint","painting"],"technique_id":"TM-4273","alt_technique_ids":["TM-14210","TM-3891","TM-3971"],"technique_ids":["TM-4273","TM-14210","TM-3891","TM-3971"],"technique_titles":["oil painting","painting","painting (image making)","painting techniques"],"theme_titles":[],"image_id":"91c51644-871f-cda9-82bb-94f4973ae339","alt_image_ids":[],"document_ids":[],"sound_ids":[],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_all":[{"input":["1894.1022"],"contexts":{"groupings":["accession"]}},{"input":["Young Woman at an Open Half-Door"],"weight":29314,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-07-28T12:57:13-05:00","updated_at":"2026-09-21T09:22:00-05:00","timestamp":"2026-09-27T05:36:55-05:00"},"info":{"license_text":"The `description` field in this response is licensed under a Creative Commons Attribution 4.0 Generic License (CC-By) and the Terms and Conditions of artic.edu. All other data in this response is licensed under a Creative Commons Zero (CC0) 1.0 designation and the Terms and Conditions of artic.edu.","license_links":["https:\/\/creativecommons.org\/publicdomain\/zero\/1.0\/","https:\/\/www.artic.edu\/terms"],"version":"1.16"},"config":{"iiif_url":"https:\/\/www.artic.edu\/iiif\/2","website_url":"http:\/\/www.artic.edu"}}