The Anatomy Lesson of Dr. Nicolaes Tulp

The Anatomy Lesson of Dr. Tulp is a painting by Rembrandt van Rijn, executed in 1632 in oil on canvas and having the dimensions of 169,5 cm x 216.5 cm. Today it belongs to the collection of the Mauritshuis in The Hague.

Two people in the painting are particularly exposed: One is the physician Dr. Nicolaes Tulp, who explains the skeletal muscles to the spectators. The other is the dead: Adriaan Adriaanszoon. A a violent street robber, who had been hanged for his crimes. The spectators are Jacob Jansz Colevelt, Adrian Cornilsz Slabberaen, Mathys Evertsz Calkoen Jacob Jansz de Witt, Jacob Dielofse Block and Frans van Loenen as suggested by both the order for the painting and the hand-held paper in the middle. Anatomy demonstrations in the 17 Century were a social event: they were held in so-called anatomical theaters for a paying audiences, consisting typically of guild colleagues, students and dignitaries.

The spectators in The Anatomy Lesson of Dr. Nicolaes Tulp are festively dressed, according to the social event. As Dr. Tulp himself they are members of the Amsterdam guild of barbers and surgeons. Tulp maintains a higher rank, though, what is reflected by the fact that Dr. Tulp is the only one still wearing his hat. However, one person missing: the taxidermist. Dr. Tulp was a man of science, not of everyday business. The 17th Century made a fine distinction between the men of science, who explained and those who had to do the crafts.

Consequently, there are no cutting instruments in the painting. Instead the painting includes a huge book in the lower right edge; probably a textbook of anatomy. An interesting thing about this painting is an error: The raised muscle (flexor digitorum superficialis) should actually be on the inside of the elbow while the painting shows it on the outside. Rembrandt had only 25 years old when he painted The Anatomy Lesson of Dr. Tulp. Nevertheless, in particular in the person of the dead, the painting shows already a feature that Rembrandt increasingly practiced in his later years: the shading of faces, a hint of the umbra mortis.