Tátrai Vilmos szerk.: A Szépművészeti Múzeum közleményei 90-91.(Budapest, 1999)

EMBER, ILDIKÓ: Some Minor Masters on the Peripheries of Rembrandt's Circle

76. Willem de Poorter: Diana with Her Companions in a Grotto. Budapest, Museum of Fine Arts of the female nudes is evidence of Willem de Poorter

's hand, although he rarely painted nudes. But for instance in his painting The Finding of Moses

49 the two female nudes standing in the water on the left are evidence that in painting nudes de Poorter probably followed the manner of Cornells Moeyaert. The body masses are characteristically soft and appear to be practically boneless; the same awkwardly elongated arms and vagueness of gestures can also be seen in the diminutive figures of Diana and her companion (fig. 78, detail). The profile of the goddess shows typological features similiar to numerous female protagonists in W. de Poorter

's paintings.

50 Finally we would like to introduce a work painted by an actual pupil of Rembrandt's. Samuel van Hoogstraten (1627-1678) of Dordrecht became a pupil at the Amsterdam workshop around 1642, and worked subsequently as an assistant of the master. The outstanding examples"'

1 of his first, strongly Rembrandtesque creative period already evince a noteworthy talent able to make individual use of the lessons learned. How49 Raoul Kuffner de Diószegit sale, New York, Parkc-Bernet, 18.11.1948. No. 30, then Sale Hartveld, New York, Parke-Bcrnet, 15.11.1950. 50 E.g. Abradatas and Panthea, see Note 42; Jeroboams Sacrifice, Sacrifice to Diana, 1646, see Sumowski, op. cit. (Note l)Nos. 1614 and 1641. 51 E.g. Young Man Reading (Self-portrait) 1644. Rotterdam, Museum Boijmans Van Beuningen (Inv.No. 1386),Self-Portrait Wearinga Turban 1645, The Hague, Museum Bredius (Inv. No. 54. 1946),Adoration of the Shepherds 1647, Dordrecht, Dordrechts Museum (Inv. No. DM980/567).