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Hendrickje Stoffels: Rembrandt van Rijn’s Incarnation of Medea

Willis, Kelly Jo
http://rave.ohiolink.edu/etdc/view?acc_num=ucin973707292

Abstract Details

2000, MA, University of Cincinnati, Design, Architecture, Art, and Planning : Art History.
The relationship between Rembrandt van Rijn (1606-1669) and Hendrickje Stoffels (1625/26-1663) has not been examined to the extent of other aspects of Rembrandt’s life. The manner in which Hendrickje served as an artistic inspiration for Rembrandt has been particularly overlooked. Hendrickje Stoffels publicized her direct relationship with the artist in 1654. That summer, she was summoned before the Reformed Church Council to justify their common-law marriage. Five months pregnant with their child, Hendrickje humbled herself before the Council and admitted her devotion to Rembrandt. Denounced for “living like a whore,” Hendrickje was banished as a member of the Church. Despite the public humiliation, Rembrandt and Hendrickje’s relationship endured. For Rembrandt, there were hidden aspects of Hendrickje’s personality which he undeniably found inspiring. In particular, he identified Hendrickje with the mythical character, Medea – a classical heroine who wore a label of her own with pride and dignity. Introduced in Euripides classical play of the same name in 431 BC, Medea is portrayed as a wild, vindictive woman. In return for her husband’s abandonment, she punishes him by murdering her own children. She was coined a witch goddess. Having been strong in the face of betrayal and death, Medea wins sympathy and is transformed into a heroine. Both Medea’s and Hendrickje’s plight are brought about by uncontrollable passions. The love of a man drives them to sacrifice their independence. As Medea’s love turns to hate upon betrayal so Hendrickje’s love turns into a silent threat upon her public demise. This thesis will explore the role of Hendrickje Stoffels as a creative force for Rembrandt in comparing her undisclosed personality to that of the classical heroine, Medea, a figure with whom Rembrandt empathized. The focus will be on five historical paintings dating between 1654-1666, Bathsheba Reading King David’s Letter, Flora, Woman Bathing in a Stream, Juno, and Lucretia in which Hendrickje is believed to bedepicted. In close examination of the works, the similarities between Hendrickje and Medea are revealed. Medea emerges as the title figure of each work thus allowing Rembrandt to covet his relationship with Hendrickje behind historical guises.
Kristi Nelson (Advisor)
84 p.
REMBRANDT; HENDRICKJE; MEDEA; Bathsheba; Lucretia; Jason; woman

Recommended Citations

Citations

  • Willis, K. J. (2000). Hendrickje Stoffels: Rembrandt van Rijn’s Incarnation of Medea [Master's thesis, University of Cincinnati]. OhioLINK Electronic Theses and Dissertations Center. http://rave.ohiolink.edu/etdc/view?acc_num=ucin973707292

    APA Style (7th edition)

  • Willis, Kelly. Hendrickje Stoffels: Rembrandt van Rijn’s Incarnation of Medea. 2000. University of Cincinnati, Master's thesis. OhioLINK Electronic Theses and Dissertations Center, http://rave.ohiolink.edu/etdc/view?acc_num=ucin973707292.

    MLA Style (8th edition)

  • Willis, Kelly. "Hendrickje Stoffels: Rembrandt van Rijn’s Incarnation of Medea." Master's thesis, University of Cincinnati, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin973707292

    Chicago Manual of Style (17th edition)

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This open access ETD is published by University of Cincinnati and OhioLINK.