==Provenance==
The painting, originally in the collection of N. C. Hasselaar ([[Amsterdam]]), was purchased at auction in April 1742 by Jacques de Roere, a marchant (intermediary merchant), for the collection of Willem Lormier ([[The Hague]]). In 1746 it was sold to [[Argenson, René Louis d'|marquis d'Argenson]], and from 1754 was part of the collection of L. J. Genius ([[Paris]])<ref>Wheelock 2004 page 208</ref>}}.
In 1769, the painting was bought by [[Choiseul, Etienne François de|duke Choiseul]]. In 1771 its [[engraving engraved]] reproduction by A. Romanet appeared in an edition of reproductions of works from the Choiseul collection (Recoueil Choiseul, No. 61, 1771). Romanet's engraving is of a slightly larger format. On the left are an open window, a stool and a dog sitting on it. To the right is a monkey with a chain attached to his leg, ending with a cast-iron ball. There is a chandelier above and an assembled drapery in the foreground. In the twenty-first century, the Hermitage can see the chain and ball in the lower right corner of the painting and part of the stool on the left. Early Hermitage catalogues indicate that the original format of the painting has been altered (the painting is cropped), but this is an erroneous statement. {{n5|Gudlaugsson, Sturla Jonasson|S. Gudlaugsson||de|Sturla Gudlaugsson}} ({{lang-nl|Sturla Jonasson Gudlaugsson}}) determined that the additions reflected in Romana's engraving were not executed by Terborch<ref>{{book|author={{np5|Gudlaugsson, Sturla Jonasson|Gudlaugsson S. J.|de|Sturla Gudlaugsson}}.|title=Katalog der Gemälde Gerard ter Borchs sowie biografisches Material: In 2 Bd|place=Den Haag|publisher=[[Martinus Nijhoff Publishers|Martinus Nijhoff]]| year=1959-1960|seite=187-189|band=2}}</ref>. Thus, the ball to which the monkey was chained casts a shadow in a different direction than the other objects depicted. Judging by the glare on it, it is painted as if it were illuminated from the left, from a window, but with Therborch the light falls to the right from the front. It is also known that the artist never showed sources of light in his paintings. The non-author additions were removed before the painting even reached the Hermitage (in 1772 and 1793). An idea of the composition's original format can be gained by comparing the painting with its reproduction (canvas, oil, {{num|68.4 × 56.2|cm}}) from the [[London]] auction of [[Christie's]] (July 3, 2012)<ref>{{cite web||author=|url=https://www.christies.com/lotfinder/paintings/attributed-to-gerard-ter-borch-5584804-details.aspx?from=searchresults&intObjectID=5584804&sid=929b0ae1-78c0-4113-be83-915532a7a10a|title=Christies. 3 July 2012. Old Master & British Paintings Evening Sale. Lot 26: Attributed to Gerard ter Borch. The Glass of Lemonade|lang=en|publisher=[[Christie's|Christie's]]|accessdate=2019-12-20|deadlink=no|archiveurl=https://web.archive.org/web/20190411172426/https://www.christies.com/lotfinder/paintings/attributed-to-gerard-ter-borch-5584804-details.aspx?from=searchresults&intObjectID=5584804&sid=929b0ae1-78c0-4113-be83-915532a7a10a|archivedate=2019-04-11}}</ref>. According to S. Gudlaugsson, it is a high-quality copy. A. Wallert defines it as the author's replica of the Hermitage composition. As Wallert notes, the [[sketch]] figures in both paintings coincide completely, which is a consequence of the usual use of the same [[Carton (painting)| preparatory drawing]] for the two bases with punctures on the outlines<ref>{{article |author= Wallert A., Tauber G.|title= Over herhalingen in de schilderkunst: het probleem van reproductie|link= |language= |edition= Bulletin van het Rijksmuseum|type= |year= 2004| month= |volume= 4|number= |pages= 316-327|doi= |issn=}}</ref><ref>Sokolova 2017 pages 180-182</ref>
In 1808, at an auction of the Choiseul-Praslin collection, the painting was purchased for the de Serville collection; in 1812, it was sold to [[Josephine Bogarne||impress Josephine]], stored in the palace of [[Malmaison]], in 1815, together with the Empress's collection of paintings, it entered the Hermitage <ref>Sokolova 2017 pages 179-181</ref><ref>Wheelock 2004 page 208</ref>.
In 1930, Terborch's canvas was supposed to [[Sell paintings from the Hermitage collection|Sell paintings from the Hermitage collection]], along with other works from the Hermitage{{ref+|Besides "Glass of Lemonade", this batch included two [[Rembrandt]]a paintings ("Pallada" and "Titus"), one [[Watto, Antoine|Watto]] ("Musician", also called "Metseten"), and the sculpture [[Goodon]]a "Diana". |K}}, [[Gulbenkian, Galust|Galust Gulbenkian]], the Soviet Union government thus thanked him for helping to break the blockade while selling oil to [[Baku]]. However, instead of the "Glass of Lemonade", the museum staff issued [[Antiques Office | Antiques Office]] a painting by Terborch, "[[Music Lesson (Terborch)| Music Lesson]]"{{ref+| Currently part of the [[Toledo Art Museum|Toledo Art Museum]] painting collection.|K}}<ref>{{cite web|author=|url=http://emuseum.toledomuseum.org/objects/55118/the-music-lesson? ctx=61418861-68b4-48f8-9b72-3e8df42d00f5&idx=0|title=«Урок музыки» Терборха|lang=en|publisher=[[Музей искусств Толидо]]|accessdate=2019-12-20|deadlink=no |archiveurl=https://web.archive.org/web/20190120144419/http://emuseum. toledomuseum.org/objects/55118/the-music-lesson?ctx=61418861-68b4-48f8-9b72-3e8df42d00f5&idx=0|archivedate=2019-01-20}}</ref>, listing [[Hooch, Peter de|Peter de Hooch]] rather than Terborch as author in the transfer act. According to [[Piotrovsky, Mikhail Borisovich|M. Piotrovsky]], Gulbenkian did not receive The Glass of Lemonade, either because the Hermitage staff decided to save the most valuable for the museum, or because the painting may have been "held back" for another buyer - [[Mallon, Andrew|Andrew Mallon]]. Either way, one of Therborch's finest works remains in the Soviet Union<ref>{{book|author=[[Piotrovsky, Mikhail Borisovich|Piotrovsky M. B.]]|part=How the "Glass of Lemonade" remained in the Hermitage|link part=http://www.piotrovsky.org/books/rus/170-rus.pdf |title=Hermitage reading in memory of B. B. Piotrovsky (14.II.1908 - 15.X.1990). On the 90th anniversary of his birth,|place=SPb.|publisher=State Hermitage|year=1998|pages=73-76}}</ref>.
==Description==
The painting depicts a scene of the preparation of [[lemonade]]. A young woman and a young man are seated opposite each other. The cavalier carefully squeezes the juice from a lemon into a glass of white wine<ref>Wheelock 2004 page 149</ref>, which the girl is holding. With his left hand he holds the base of the glass and touches her little finger in the process. Their gazes are fixed on each other (cf. [[Whipper, Boris Robertovich|B. Whipper]] "a soft but insistent dialogue of looks and touches"<ref>Wipper 1962 page 158</ref>). Behind the young couple stands an older woman, her right hand resting on the girl's shoulder <ref>Wheelock 2004 page 149</ref>
[[:File:The Glass of Lemonade, attributed to Gerard ter Borch.jpg|mini||right|The Glass of Lemonade. [[Attributing the work|Attributable to G. Therborch]] Collection of Peter and Olga Dresmann]]
On the right, in the back of the room, an unmade bed can be seen under an open canopy. This detail gives the whole scene a sensual character <ref>Wheelock 2004 page 149</ref>. The rather ascetic setting of the room allows the viewer to focus all his attention on the figures of the characters. They are flooded with light and stand out sharply against the dark wall. The texture of the fabrics, as usual with Thierborch, is rendered with the highest degree of realism and care. Judging by the way the clothes of the couple are painted, it seems that the painting was made between 1660 and 1665. The young woman is wearing a light [[Satin (fabric)| satin]] skirt sewn with gold threads and a golden-yellow short coat (or half-coat, the so-called matinee<ref name="Enz_fashion">{{book|author=Kibalova L., Gerbenova O, Lamarova M.|title=Fashion Illustrated Encyclopaedia Publisher=Arthia|place=Prague|year= 1988|pages=466}}</ref>) trimmed with white fur, her head covered with a black lace [[Chaplet]] or veil {{ref+|The contrasts of light and dark were typical for Dutch fashion of that time<--Mertsalova, find page}}. The elderly woman is wearing a white bonnet and [[plush]] mauve jacket<ref>Hermitage Treasures 1968 page 176</ref><ref>Wheelock 2004 page 152</ref> In Wheelock's opinion, the black veil on the young lady looks somewhat odd. However, as art historian {{iw|Emilie Gordenker|Emilie Gordenker|nl|Emilie Gordenker}} believes, this costume detail is characteristic of the cold season. Thus, in the painting-[[Allegory||allegory]] [[Hollar, Václav|Václav Hollar]] "Autumn", a woman can be seen wearing just such a headdress<ref>Wheelock 2004 page 209</ref>.
The faces of the characters are sculpted with a subtle [[Light|Shadow|light and shade]] modelling. The old woman's face is hidden in the shadows, the penumbra of the hat covers the gentleman's face, the gentle face of the young woman is brightly lit<ref>Hermitage Treasures 1968 page 176</ref>.
On a small table there is a pitcher and a plate with a circle of lemon. The lemon (or orange) with its spiral cut rind is a common element of Dutch [[still life]]: by depicting it, artists demonstrated their skill in conveying the contrasting textures of various objects<ref>Wheelock 2004 page 149</ref>. In addition, like all objects in the paintings of the "Little Dutch", the lemon with its rind partially cut off had a symbolic meaning, being associated with the traitor, which is beautiful outside and sour inside<ref>{{cite book|author=[[Yuri Alexeevich Tarasov]]|title=Holland still life of 17th century|place=SPb|year=2004}}</ref>. The attention with which the artist has depicted all the details encourages the viewer to gaze at the painting at length, moving successively from one object to another<ref>Hermitage Treasures|1968|c=176</ref>.
The Russian art historian [[Kuznetsov, Yuri Ivanovich (art historian)|Y. I. Kuznetsov]] in his review of the Hermitage collection of Dutch paintings, describing the painting, noted:
{{beginning of quotation}}
In A Glass of Lemonade the unmistakable skill of the draughtsman combines with the taste of a brilliant colourist, and, just as Terborch the painter avoids harsh movements and lines, Terborch the painter builds his colouring on soft, harmonious combinations of silvery grey and pale tones. Their beauty was first revealed to the artist by [[Hals, Frans|Frans Hals]], but the noble consonance of grey, black and white Terborch had spotted in the works of [[Velázquez, Diego|Velázquez]]<ref>Kuznetsov 1988 page 105</ref>
{{end quote}}
[[File:1974 CPA 4414 mint.png|thumb|right|220px|The picture "Glass of Lemonade" on the 1974 USSR postage stamp<ref name="USSR_poststamps2">{{book
|author =
| title=USSR Postage stamp catalogue
|reference =
|Responsible = M.I. Spivak
|place = {{M.}}
|publishing house = [[Soyuzpechat#CFA "Soyuzpechat"|Central philatelic agency "Soyuzpechat"]] [[Ministry of Communications of the USSR|Ministry of Communications of the USSR]]
| year = 1984
|volume = 2 (1970-1980)
| pages = 113, 272
|isbn =
|ref =
}}}</ref>]]
Terborch was posed by his half-sister and brother, [[Terborch, Gesina|Gesina]] and {{np5|Terborch, Moses|Moses|nl|Moses ter Borch}}, also painters. According to some researchers, the old woman is painted from Visken Matteis, the mother of Gezina and Moses, her facial features resemble Moses' drawings of her mother<ref>Sokolova 2017 page 182</ref>.
In 1974 [[USSR Ministry of Communications|Ministry of Communications]] was issued [[USSR Postage Stamps|postage stamp]] with the reproduction of this picture, the stamp face value - 10 [[kopeck|kopecks]] (number 4414 in [[USSR Postage stamp catalogue|CFA catalogue]])<ref name="USSR_poststamps2" />.
==Interpretation of the plot==
According to Meshcherina E., the picture leaves a sense of under-telling, it is full of hidden meanings and riddles<ref name="auto-link1">{book=author=Meshcherina E. |title=Western European Genre Painting=publisher=[[Olma Media Group|OLMA Media Group]] |place=M.|year=2006|pages=63}}</ref>. Originally "A Glass of Lemonade" was perceived as a scene from family life, [[Benois, Alexander Nikolaevich|Alexander Benois]] called it "a most commonplace anecdote", where the suitor offers the lady who is feeling ill lemonade, and [[Gnedich, Piotr Petrovich|P. P. Gnedich]] suggests that the drink is served by a doctor<ref>{{publication|book|author=[[Gnedich, Piotr Petrovich|Gnedich P. P]].|title=History of Art. Painting. Sculpture. Architecture|link=|responsible=|place=M.|publishing=[[Exmo|Exmo Publishing House]]|year=2002|pages=450, 848|ref=}}</ref> - sour lemon was thought to remove fever during illness{<ref></ref>Wheelock|2004 page208}}. Subsequently, however, researchers have concluded that it is a popular subject in Dutch painting of the first half of the 17th century of pandering or corrupt love ({{lang-nl|bordellosène}}). The type of composition, where a young couple and an elderly woman are represented, was introduced into Dutch painting [[Baburen, Dirk van Dirk van Baburenom]] in the 1620s. Researcher A. Wielock notes that Terborch's work on this subject has a character that distinguishes it from similar paintings by other Dutch artists. The tactfulness, "gallantry in the display of feelings" of the young couple goes back rather to another, no less common motif - "love sickness" <ref></ref>Wheelock|2004 page149}}<ref></ref>Sokolova|2017|c=182}}. Kuznetsov points out that it was the delicacy with which the artist depicted the scene that misled art historians at the time, but the situation is more complicated than it first appears. The old woman's gesture is interpreted as an invitation to appreciate the young woman's charms<ref></ref>Wheelock|2004 page209}}, and all the ambivalence of the situation reveals the cavalier's inexperience and, conversely, the "known experience" of his lady-in-waiting <ref></ref>Kuznetsov|1988|c=104-105}}.
A seventeenth-century horticultural book lists the beneficial properties of [[citrus|citrus fruits]] - oranges and lemons. "Many people know by experience" that these fruits help with colds, abdominal inflammation, muscular pains, and warm a "cold stomach". The lemon is also credited with the ability to alleviate love affliction in both men and women. The peeled fruit and lemon slices were one of the attributes in the plot {{iw|Lovesickness|"love sickness" (or "love longing"|en|Lovesickness}} ({{lang-nl|liefdesverdriet}}), where a young woman receives a doctor in her bedroom, the third protagonist is an elderly maid{<ref></ref>Wheelock|2004 page149, 152}}.
[[File:Steen, Jan Havickszoon - Love Sickness - c. 1660.jpg|mini|J. Steen. Love Sickness. {{nobr|Ok. 1660}}]]
In the painting [[Sten, Jan|Jan Sten]] from the [[Old Pinakothek|The Old Pinakothek]] (c. 1660), the scene is complemented by the figure of a lover entering through a half-open door. A peculiarity of the composition "Glass of Lemonade" is that the image of the couple in love is combined with the traditional motif of "love sickness" <ref></ref>Wheelock|2004 page149}}. The old woman supports the lady; the latter's weakness may also be indicated by the fact that she is forced to rest her right hand on her left. Nevertheless, the heroine expects deliverance from her ailment not from the medicinal drink, but from her lover <ref></ref>Wheelock|2004|pp=152-153}}.
The authors of Treasure of the Hermitage (1968) believe that the artist did not set himself the task of penetrating deeply into the inner life of the characters<ref></ref>Treasure of the Hermitage|1968 page176}}, whereas most other researchers note that Terborch introduces a psychological element into the domestic plot for the first time (Kuznetsov)<ref></ref>Kuznetsov|1988 page104-105}} (cf. E. Meshcherina: "The artist is more engaged in revealing the psychology of people's relationships, in conveying an atmosphere imbued with subtle emotional vibes" <ref name="autocomment1" />). As B. Whipper thought, the plot is muted in Terborch, and this is why the relationships between the characters come to the fore<ref></ref>Wipper|1962|c=156}}.== Replica from the Dresmann Collection ==
A replica of a painting from the Dresmanns collection was once part of the {{iw|John Maitland (Chippenham MP)|John Maitland|en|John Maitland (Chippenham MP)}} collection of paintings, sold at auction by [[Christie's]] in London on 30 July 1831 (No 99). The next owner of the painting was {{iw|Sir John Rogers, 6th Baronet|en|Sir John Rogers, 6th Baronet}}. On 30 April 1847 it was sold again at Christie's (No. 182), this time to Samuel Woodburn. 24 June 1854 sold to the Marquis du Lo (Christie's, London, No 51). 3 June 1871 purchased at Christie's (London, no. 51) {{iw|Hugh Andrew Johnstone Munro of Novar||en|Hugh Andrew Johnstone Munro of Novar}} (sold at Christie's, London, 1 June 1878, No 55). It was subsequently part of the collection of {{iw|Sir Joseph Robinson, 1st Baronet|en|Sir Joseph Robinson, 1st Baronet}} and was inherited (among other paintings) by {{n5|Labia, Ida Louise|Duchess Labia|af|Ida Labia}}, his daughter. The Duchess, in turn, sold the painting on 7 December 1988 (Christie's auction, no. 100). The painting was subsequently owned by [[Art Market||art dealers]] {{np5|Thomas Agnew & Sons}} (London) and [[Robert Noortman]] ([[Maastricht]]). It was from Northman that the painting was purchased by the Dresmann couple ([[inventory number]]] B20) on 1 October 2004. The copy was exhibited in London (twice, in 1894 and 1958) and [[Zurich]] (1962)<ref></ref>Wheelock|2004 page209}}.
It cannot be documented who painted the second version of The Glass of Lemonade. Art historians, based on an analysis of the stylistic peculiarities of both paintings, come to different conclusions: some attribute the authorship to the artist himself, others believe that the replica was executed by one of his students. Perhaps the high quality of the replica can be explained by the peculiarities of the art market. Terborkh sold his works through merchants in Amsterdam who tended to order copies of paintings that appealed to important buyers. So The Glass of Lemonade may have been replicated by a master of the level
[[Musser, Mihiel van|Mihiel van Musser]] or [[Van der Noer, Eglon|Eglon van der Noer]]<ref></ref>Wheelock|2004 page153}}.
==Comments==
{{notes|group=K|2}}
==Notes==
{{notes}}
==Literature==
* {{cite book|-author= [[Whipper, Boris Robertovich|Wipper B.R.]]|title= Essays on Dutch Painting in its heyday (1640-1670)|place=M.|publishing house=[[Art (publishing house)|Art]]| year= 1962|ref= Whipper}}
* {{cite book|author=[[Kuznetsov, Yuri Ivanovich (art historian)|Kuznetsov Y. I.]]|title= Dutch painting of the XVII-XVIII centuries in the Hermitage. Essay-guidebook= Edition= 3rd revised edition= {{L.}}} Publisher=[[Art (publishing house)|Art]]| year= 1988|ref= Kuznetsov}}
* {{cite book|author= [[Sokolova, Irina Alexeevna|Sokolova I. A.]]|title=Holland painting of the 17th-18th centuries: collection catalogue | volume=1: Aldevereld - Wink|place=SPb.|publishing=Publishers State Hermitage| year=2017|pages=179-182|ref=Sokolova}}
* {{cite book author|author=|title=Hermitage treasures|responsible=General editor}} Publisher=[[Piotrovskii, Boris Borisovich|B. Piotrovskii]]|place=L.|publishing house=[[Soviet artist]]|year=1968|ref=Hermitage treasures}}
* {{cite book|author={{np5|Wheelock A. K.|en|Arthur K. Wheelock Jr.}}.title=Gerard ter Borch|place-Washington, DC|publisher=National Gallery of Art|year=2004|ref=Wheelock}}
