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REMBRANDT Harmenszoon van Rijn
Artemis
Artemis, 1634
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REMBRANDT Harmenszoon van Rijn
Saskia as Flora
Saskia as "Flora", 1635
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REMBRANDT Harmenszoon van Rijn
Rembrandt and Saskia pose as The Prodigal Son in the Tavern
Rembrandt and Saskia pose as "The Prodigal Son in the Tavern" - a portrait histori??, 1635
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REMBRANDT Harmenszoon van Rijn
The Blinding of Samson,
The Blinding of Samson, 1636, which Rembrandt gave to Huyghens
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REMBRANDT Harmenszoon van Rijn
Belshassar Feast,
Belshassar's Feast, 1636-8
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REMBRANDT Harmenszoon van Rijn
The Archangel leaving Tobias,
The Archangel leaving Tobias, 1637
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REMBRANDT Harmenszoon van Rijn
The Risen Christ Appearing to Mary Magdalen,
The Risen Christ Appearing to Mary Magdalen, 1638
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REMBRANDT Harmenszoon van Rijn
The Mill,
The Mill, 1648
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REMBRANDT Harmenszoon van Rijn
Bathing woman, modelled by Hendrickje,
Bathing woman, modelled by Hendrickje, 1654
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REMBRANDT Harmenszoon van Rijn
Bathsheba in her bath, also modelled by Hendrickje,
Bathsheba in her bath, also modelled by Hendrickje, 1654
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REMBRANDT Harmenszoon van Rijn
Portrait of Jan Six,
Portrait of Jan Six, 1654. Six was a wealthy friend of Rembrandt.
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REMBRANDT Harmenszoon van Rijn
Jacob blessing Joseph second son,
Jacob blessing Joseph's second son, 1656
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REMBRANDT Harmenszoon van Rijn
The Syndics of the Clothmakers Guild,
The Syndics of the Clothmakers' Guild, 1662
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REMBRANDT Harmenszoon van Rijn
The Conspiracy of Claudius Civilis
The Conspiracy of Claudius Civilis (cut-down), 1661-62
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REMBRANDT Harmenszoon van Rijn
The Return of the Prodigal Son
The Return of the Prodigal Son, c. 1669
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REMBRANDT Harmenszoon van Rijn
The Three Crosses
1653 Drypoint and burin printed on vellum, 381 x 438 mm Metropolitan Museum of Art, New York Rembrandt's romance with drypoint in the 1650s and 1660s is one of the important milestones in the history of printmaking. His inventiveness in this medium led to the creation of compositions that offered more complex visual information and variety of drama than previously had been imagined, and whereas earlier intaglio prints had been translucent and in general rather bodiless, Rembrandt's had a structure and richness of surface that approximate many of his great oil paintings. Moreover, they are illumined by an expressive power that never fails to pierce to the heart of things, whether the subject be, as it is here, a momentous scene from Scripture or the simplest study of still life. , Artist: REMBRANDT Harmenszoon van Rijn , The Three Crosses (second state) , 1601-1650 , Dutch , graphics , religious
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REMBRANDT Harmenszoon van Rijn
Man with Wide
1632-39 Ink on light-brown paper, 160 x 98 mm Musees Royaux des Beaux-Arts, Brussels Rembrandt van Rijn, the greatest Dutch painter of the 17th century, was also a highly versatile draughtsman and engraver. Most of his more than 1500 drawings were done as exercises in order to examine his subject more closely. These were possibly not intended for sale; Rembrandt kept them in portfolios, classified by subject, as part of his extensive art collection. Later they served as examples for his apprentices or as sources of inspiration for the master himself. Rarer are the autonomous drawings and studies that are directly connected with the production of paintings and engravings. Rembrandt developed the stimuli that he had gained from his teachers Jacob Isaac van Swanenburg and Pieter Lastman into a very personal and original style, as is illustrated by the present drawing. It shows a man, drawn full length and wrapped in a long, wide coat, like the one we also see in Rembrandt's drawings of Pantalone, one example of which is preserved in Hamburg, where he also wears a floppy, broad-rimmed hat with ear-muffs. Rembrandt probably studied the figure of Pantalone, the merchant in the Italian Commedia dell'arte during stage performances at the Amsterdam annual fairs. For his drawings of the actor he also worked from earlier sources such as the engravings of Jacques Callot. The Brussels sketch dates from 1632-39 and belongs to a fairly extensive group of studies of individual figures, without any decor or landscape, produced with gallnut ink on light-brown tinted paper. These are picturesquely apparelled personages such as farmers, beggars, actors and orientals with eye-catching head-dresses. Typical of these rapid sketches is the accuracy with which Rembrandt is able to capture the essence of a movement or an attitude in a few strongly posed strokes and accents. With thin, almost scratchy pen-strokes certain details are expressed in at times considerable detail - the man's eyebrows and cheekbones - whilst other parts, like his coat, are indicated in a highly summary fashion with broad lines, their effect heightened by the way in which the gallnut ink, which contained iron, has soaked into the paper. The suggestive power of these drawings, built up with fluid but carefully placed lines to form a strongly structured pattern, remains unequalled. , Artist: REMBRANDT Harmenszoon van Rijn , Man with Wide-Brimmed Hat , 1601-1650 , Dutch , graphics , study
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REMBRANDT Harmenszoon van Rijn
Aristotle with a Bust of Homer
1653 Oil on canvas Metropolitan Museum of Art, New York Artist:REMBRANDT Harmenszoon van Rijn Title: Aristotle with a Bust of Homer (detail), 1601-1650, Dutch , painting , portrait
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REMBRANDT Harmenszoon van Rijn
nattvakten
1642
se
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REMBRANDT Harmenszoon van Rijn
korsfastelsen
1633
se
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| REMBRANDT Harmenszoon van Rijn
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Born 1606, Died 1669.One of the great Dutch painters and printmakers of the 17th century, Rembrandt van Rijn is best known for his expressive use of light and shadow (also called chiaroscuro) in his many portraits. Raised in Leiden, he studied with Pieter Lastman (1583-1633) in Amsterdam, then returned to Leiden around 1625 and set up shop as a teacher and portrait artist. Sometime between 1630 and 1632 Rembrandt relocated to Amsterdam, where he spent the rest of his career. Though he had his detractors (some of whom considered him coarse and "low born"), Rembrandt was successful and famous during his lifetime, though he fell on financial hard times in his later years. He was a master printer and produced hundreds of group portraits and historical paintings, including The Anatomy Lesson of Dr. Tulp (1632), The Military Company of Captain Frans Banning Cocq (1642) and Aristotle with a Bust of Homer (1653). His portraits -- including a lifelong trail of intriguing and rather frank self-portraits -- reveal his interest in psychological study and continue to be admired as landmarks in Western art. The Military Company of Captain Frans Banning Cocq is also known as "The Night Watch" because it was thought the painting depicted a nighttime scene. When the painting was cleaned in the 1940s it became obvious that it depicted a daytime scene... He married Saskia van Ulenburgh (also Uylenburgh) in 1634.
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