Completed in 1634, this canvas represents the artist’s wife, Saskia van Uylenburgh, as the classical goddess of spring, Flora. Now housed in the Hermitage Museum in St. Petersburg, the image depicts the goddess with flowers in her hand and entwined in her hair, while wearing a sumptuous robe, richly embroidered. However, the beauty of her adornments strangely contrasts with the diffident pose of the subject, giving the portrait an intriguing charm. Rembrandt painted Saskia as Flora three times throughout his career: in 1634, 1635 and 1641. In this example, he combined elements of pastoral and historical portraits. Created in the year of their marriage, the canvas demonstrates the love and admiration the artist felt for his young bride.
Saskia was born in Leeuwarden, the youngest of the eight children of Sjoukje Ozinga and Rombertus van Uylenburgh, a successful lawyer, town burgomaster and one of the founders of the University of Franeker. Saskia was orphaned by the age of twelve and she met Rembrandt at the home of her uncle, Hendrick van Uylenburgh, a painter and art dealer. Saskia and Rembrandt were engaged in 1633 and on 2 July the couple were married in Sint Annaparochie. The preacher was Saskia’s cousin, but evidently none of Rembrandt’s family attended the marriage. That Saskia fell in love with an artist, who was socially no match for the daughter of a patrician, and that she pressed for a speedy betrothal, demonstrates that she was a strong and independent character. In 1635 the couple moved to one of the most desirable addresses in Amsterdam, the Nieuwe Doelenstraat, with prominent neighbours and a view of the river Amstel.