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Rembrandt van rijn
Self-Portrait as a Young Man
mk52
1628
Oil on wood
22.5x18.6cm
Rijksmuseum,Amsterdam
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Rembrandt van rijn
Self-Portrait with Plumed Beret
mk52
1629
Oil on wood
89.7x73.5cm
Isabella Stewart Gardner Museum,Boston
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Rembrandt van rijn
Self-Portrait
1640
Oil on canvas
93x80cm
National Gallery,London
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Rembrandt van rijn
Self-Portrait
mk52
1658
Oil on canvas
131x102cm
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Rembrandt van rijn
Self-Portrait
1659
Oil on canvas
84.5x66cm
National Gallery of Art,Washington DC
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Rembrandt van rijn
Self-Portrait with Tow Circles
mk+52
1662-9
Oil on canvas
114.3x94cm
Kenwood House,London
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Rembrandt van rijn
Details of the Blinding of Samson
nn05
Samson conforms to the Calvinist outlook
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Rembrandt van rijn
Details of the Blinding of Samson
nn05
The pleasures of terror and cruelty
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Rembrandt van rijn
The Blinding of Samson
nn05
1636
God's champion defeated in the war of the sexes
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Rembrandt van rijn
Details of the Blinding of Samson
nn05
Cunning triumphs over physical strength
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Rembrandt van rijn
The eyes-fount of fascination and taboo
nn05
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Rembrandt van rijn
The Anatomy Lesson of Dr.Nicolaes Tulp
mk68
Oil on canvas
The Hague,Mauritshuis
1632
Netherlands
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Rembrandt van rijn
Danae
mk68
Oil on canvas
Saint Petersburg,
State Hermitage Museum
1636
Netherlands
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Rembrandt van rijn
Bathsheba with David's Letter
mk68
Oil on canvas
Paris.
1654
Netherlands
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Rembrandt van rijn
Return of the Prodigal Son
mk68
Oil on canvas
Saint Petersburg,
State Hermitage Museu
c.1669
Netherlands
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Rembrandt van rijn
Autoportrait au chevalet
mk70
Toile
H.1.11
L.0.90
Paris,Musee du Louvre
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Rembrandt van rijn
Nicolaes ruts
mk76
Dated 1631
Oil on panel
46x34 3/8in
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Rembrandt van rijn
Self-Portrait
mk76
Dated 1658
Oil on canvas
52 5/8x40 7/8in
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Rembrandt van rijn
The polish rider
mk76
Painted c. 1655
Oil on canvas
46x53 1/8in
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Rembrandt van rijn
Details of The Polish rider
mk76
Painted c.1655
Oil on canvas
46x53 1/8in
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| Rembrandt van rijn
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1606-1669
Dutch painter, draughtsman and etcher. From 1632 onwards he signed his works with only the forename Rembrandt; in documents, however, he continued to sign Rembrandt van Rijn (occasionally van Rhyn), initially with the addition of the patronymic 'Harmensz.'. This was no doubt in imitation of the great Italians such as Leonardo, Michelangelo, Raphael and Titian, on whom he modelled himself, sometimes literally. He certainly equalled them in fame, and not only in his own country. His name still symbolizes a whole period of art history rightfully known as 'Holland's Golden Age'. In 1970-71 a great exhibition in Paris was devoted to it under the eloquent title Le Si?cle de Rembrandt. A century before, a popular work of cultural history by C. Busken Huet referred to the Netherlands as 'the land of Rembrandt'. His fame is partly due to his multi-faceted talent. Frans Hals was perhaps at times a greater virtuoso with the brush but remained 'only' a portrait painter. Vermeer may have excelled Rembrandt in the art of illusion but was less prolific. Rembrandt was not only a gifted painter but also an inspired graphic artist: he has probably never been surpassed as an etcher, and he often seems inimitable as a draughtsman. His subjects reflect his manifold talent and interests. He painted, drew and etched portraits, landscapes, figures and animals, but, above all, scenes of biblical and secular history and mythology.
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