Description: Black chalk, pen and brown ink, point of brush and wash in brown, corrections in white body colour and reworked in pen and brown ink, 182 x 239 mm. The two upper corners rounded. Laid down. Numbered on the mount, in pen and brown ink, 1799 (Sparre) and 181 (struck out). Mark of the Royal Collection (Lugt 1638).

The original drawing has been extensively reworked. Job, sitting on the right and originally looking straight ahead, has been given an uplifted head, and the passive right arm has been raised. In the centre, two figures have been suppressed and replaced with a man gesturing with both hands, possibly Eliphaz. The seated man on the left, the background and, to a lesser degree, the figure of Job have been vigorously retouched with parallel hatching and their outlines strengthened. Only the standing man on the left and the column behind the seated man have been left alone.

Kruse and others have seen clear evidence of Rembrandt’s hand in the reworking, but Sumowski believed that other pupils may have corrected Renesse’s drawings, in particular Hoogstraten, and he compared the style of the corrections with a signed drawing by that artist.  If that is the case, it must have happened in 1648, when Renesse first attended Rembrandt’s studio, and before Hoogstraten left Amsterdam for Dordrecht that year. [Magnusson, Dutch Drawings no. 386]

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Constantijn Renesse | Job, hans hustru och hans vänner | Nationalmuseum

Constantijn Renesse | Job with his Friends and his Wife | Nationalmuseum

Foto: Hans Thorwid / Nationalmuseum, CC BY SA 