A wedding gift that turned out to be at the center of an entertaining deal: a pair portrait by Rembrandt

2024 Author: Richard Flannagan | [email protected]. Last modified: 2023-12-15 23:55

The paired portrait of Martin Solmans and Opien Coppit are two works by Rembrandt, which he painted on the occasion of the marriage of the couple in 1633. Portraits can be called a wedding gift. Why do art critics single out these two portraits in the works of the master of the Golden Age, and, most interesting, what transaction of the century is associated with them?

History of creation

The portraits were painted by Rembrandt on the occasion of the wedding of Martin Solmans and Opien Coppit in 1634. From the moment of creation to the present day, the portraits are preserved only in pairs. Unlike many paired portraits of the 17th century. Two portraits of Rembrandt have always hung in all collections. What else makes them unusual? Their size and full-length image. The artist, who created a huge number of portraits, rarely painted such monumental full-length portraits. By choosing this type of portrait, the couple most likely wanted to demonstrate their solid position in society and status. Indeed, they belonged to the upper class of the Amsterdam bourgeoisie. The canvases were painted during the period of the brilliant heyday of the master's career, at the age of 28. He had just arrived in Amsterdam when orders from wealthy aristocratic families literally fell on him.

In June 1633 Martin Solmans (1613-1641), the son of a refugee from Antwerp, married Opien Coppit (1611-1689), who was one of the most eligible brides in the city.

Martin Solmans

Models Martin Solmans and his wife Opien Koppit are dressed as befits a wealthy Amsterdam newlywed couple, and the artist is portrayed almost in full face. He has a plump and beardless face. He is dressed in a rich black suit, consisting of a large-striped coat, trousers and a short cape, and a wide and close-fitting lace collar. On the hero's feet we see white stockings with rich lace bows on garters. The head is adorned with a wide-brimmed woolen black hat, covered with Martens' thick blonde hair. His pose is interesting: the right hand lies on the hip under the cloak, and the left is extended to the side and holds the glove. The background is decorated with a bluish-green curtain.

Opien Coppit

In her right hand, the girl holds a luxurious fan with a gold chain and black ostrich feathers. Going down the steps, the heroine lifts her dress with her left hand so as not to step on it. This is an expensive, black, patterned silk outfit, which gracefully flaunts a lace collar and lace-trimmed cuffs. On her belt and shoes there are lace flower decorations. A black veil falls over the back. Several strands of pearls around the neck and pearl earrings serve as a laconic and fashionable decoration. By the way, pearls at that time were valued more than diamond.

Storyline and connection of portraits

The pose of the heroes is interesting: if a man is depicted in a static position, then the heroin is in motion. The girl walks to the left along a path paved with stone slabs and looks directly at the viewer. Thus, you can catch the author's plot: the man invited the lady on a date, he is waiting for her, and she is already in a hurry to meet him. It is noteworthy that the heroes are turned towards each other. The hero's left hand is directed to his lady of the heart, and the heroine's right hand is directed to her admirer. A large, identical curtain in the background unites the two, just like the light falling on Martin's right shoulder and Opien's soft lace collar.

The intricate bows on the couple's attire create a kind of garland that also unites the spouses. Rembrandt's precision and meticulous attention to detail are manifested in the ornament on the hero's trousers, the extravagant decoration of his shoes and the heroine's fan. By the way, the faces of the heroes wear completely different expressions: Martin has a direct and confident look, the right corner of his lips is slightly raised (a slight smile can be traced, he is definitely pleased with this situation and the planned marriage with a girl is desirable). Opien, on the other hand, has a more modest look, her head tilted slightly.

Both portraits are signed by the author: "Rembrandt, 1634" and have the same size 210 cm 135 cm. The format of the portraits is the most expensive for that time and could only be used for luxurious houses with high ceilings. According to the information that has come down to us, Martens and Opien were married on June 9, 1633.

Deal of the century

The portraits were in the possession of the heirs of Martens and Opien Coppit until they were sold in 1877 to the French banker Gustave Samuel de Rothschild. The portraits are considered the finest examples of Rembrandt's technical and artistic prowess at their best and were painted in the same period as Dr. Tulpa's Anatomy Lesson.

In 2015, the French government passed on information that it was not able to keep both portraits within its borders, as the Louvre was unable to guarantee the necessary funding. In addition, the paintings have not been declared French National Heritage.

And then the two parties - the Rijksmuseum and the Louvre, through the mediation of the auction house Sotheby's, agreed to jointly purchase these paintings. The total cost of sale - a record for the work of Rembrandt - 160 million euros. The first ever double deal of a work of art occurred on February 1, 2016. For the first time in 60 years, they were exhibited at the Louvre from March 10, 2016 to June 13, then another 3 months at the Rijksmuseum, until they were restored. The intergovernmental agreement included conditions for the alternate use of the canvas: first at the Louvre, then at the Rijksmuseum for five years, and then for eight years. Consequently, the portraits cannot be provided to other organizations. The addition of these works to national collections marks the culmination of 140 years of history between France and the Netherlands.

The paintings are the only examples of full-length portraits of the greatest painter of the Dutch Golden Age. They testify to Rembrandt's unsurpassed skill in the presentation of textures and materials and the creation of an incredible symphony of black and white shades.