WRITTEN in the ill-fated year, when all the property of Rembrandt was sold by auction, this excellent portrait is a tribute to the early portrait style of the 30s; it is completely finished, every detail is written out.
When compared with the “Portrait of Jan Sixs”, the strengths of two largely different techniques are striking; Rembrandt owned both masterfully. Katrina Hoogsat – here she is about fifty – was the dyer’s wife. Perhaps more significant, it belonged to the Mennonite sect, among which the artist had such extensive connections that it would not be an exaggeration to say: Rembrandt was deeply interested in their teaching. Those who did not adhere to such strict rules as the Calvinists who had the power, the Mennonites, in their way of life and conviction, resembled Quakers.
However, of course, there could be no question of Rembrandt, “living in sin” with a woman in marriage, joining this sect. By virtue of either religious beliefs, or personal qualities, Katrina is struck by the rare calmness of spirit and enlightenment, which is not often seen on the faces of richer and more respectable customers of Rembrandt.
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