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When looking at a painting on the wall of a museum, it can be hard to remember that at one point the paint was still wet on the canvas, and that the artist holding the brush was just as flawed and human as the rest of us.

Property of the Minneapolis Institute of Arts

Take Rembrandt's "Lucretia"; the painting holds pride of place in the Minneapolis Institute of Arts' current 

 and is considered one of the gems of the MIA's permanent collection.

While the painting depicts a pivotal woman in Roman history, MIA curator Tom Rassieur believes the work served also as the cry of a man who had lost his lover to society's fickle whims.

Meet Hendrickje Stoffels. Stoffels came into Rembrandt's life in the late 1640s, said Rassieur, well after his wife died.

Rembrandt blamed Hendrickje's death on those who condemned her. Three years later Rembrandt painted "Lucretia," but Rassieur said it's not difficult to see that the inspiration for this portrait was his lost love.

Many painters have depicted the story of Lucretia. But Rembrandt's work stands out. It's a deeply personal work, in which the viewer gazes into the eyes of Lucretia after she's stabbed herself, resigned to her death. As Rassieur explained:

by Tiziano Vecelli (known in English as Titian)

In many ways, Rassieur said, this was the height of Rembrandt's career. He was at his peak in terms of talent, but no longer subject to the whims of the bourgeoisie. His work showed his debt to two great artistic influences:

Rembrandt's use of paint varies dramatically across the canvas, from paper-thin to almost sculptural thickness.

Detail of Rembrandt's Lucretia: the gash of Lucretia's wound is depicted with a single stroke of white. 

Rassieur said close examinations of the painting reveal Rembrandt likely completed "Lucretia" in a single day, painting "wet on wet" with no second thoughts.

It's important, Rassieur added, to keep this painting in the context of its time. Seeing a Rembrandt painting such as this one in the 17th century was akin to a miracle for anyone not of the upper class. It was a rare occurrence with a weighty impact.

Rassieur said it reminds him of something Van Gogh said about Rembrandt:

Rembrandt is so deeply mysterious that he says things for which there are no words in any language. Rembrandt is truly called a magician ... that's not an easy calling.

, including his portrait of Lucretia, through September 16.

Arts and Culture

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Marianne Combs

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MIA curator Tom Rassieur believes Rembrandt's 'Lucretia' was not just a master portrait of a pivotal woman in Roman history, but also his tribute to a lost love.

The love story behind Rembrandt’s ‘Lucretia’

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