On the morning of March 18, 1990, two thieves dressed as policemen walked into the Isabella Stewart Gardner Museum in Boston and walked out with 13 pieces of art valued at half a billion dollars.
Twenty-eight years later, it remains the largest unsolved art heist.that will dive into the heist's mysteries.
Reinforcing this sense of calm, even among music-makers, is the painting’s complex geometry. The right and acute angles in the placement of the figures and the furniture, also the rectangular paintings on the wall, along with the refined, muted colors of the clothes and jewelry exude a hushed stability. At the same time, the softer curves of heads and bodies and clothes plus the aerodynamic sweep of the lid of the harpsichord add tension and energy to the static figures.
But what’s most striking about the painting is the position of the two figures. On the right, the woman is sitting in an elegant chair, looking out, but not at us — modest but self-possessed. Her left, gloved hand holds the glove of her naked right hand, which is resting on the arm of her chair. In the center, the man is standing, towering over her, swaggering, confrontational — his gloved left hand holding his right-hand glove; his right hand hidden, presumably on his hip, under his black cape.
Jesus and his disciples are in the boat. Some of them are in a state of panic. Some of them are working to hold the boat together. One is leaning over the side of the boat, about to vomit. One of them is staring out directly at us, holding onto his cap with one hand and onto a rope with the other. I’m not sure which disciple this is, but it’s Rembrandt’s face — the same face as in the also stolen “Self-Portrait,” a postage-stamp-size etching from the same period.
For many years, this haunting little landscape was thought to be by Rembrandt. Oil painted on wood, it measures 21 inches high by 28 inches across, and for all of its time in the Gardner Museum it was placed back to back with Vermeer’s “The Concert” over a small table near a window in the Dutch Room. The major oddity in this painting is the obelisk that gives this painting its title.
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