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Rembrandt's portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible are regarded as his greatest creative triumphs. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.
- The Return of The Prodigal Son
Rembrandt was moved by the parable, and he made a variety of...
- Self-Portrait With Saskia in The Parable of The Prodigal Son
It is signed "REMBRANDT F.". It portrays two people who had...
- The Storm on The Sea of Galilee
The Storm on the Sea of Galilee is a painting from 1633 by...
- Belshazzar's Feast
Belshazzar's Feast is a painting by Rembrandt housed in the...
- Flora
Rembrandt painted his wife Saskia van Uylenburgh as Flora,...
- Salomon Koninck
His paintings have a warm colour palette and include many...
- Carl Bloch
Rembrandt 1606 - 1669. Jean-Leon Gerome 1824 - 1904. Fyodor...
- Nicolaes Maes
In about 1648 he went to Amsterdam, where he entered...
- The Return of The Prodigal Son
Rembrandt Harmenszoon van Rijn (Leiden, 15 de julio de 1606-Ámsterdam, 4 de octubre de 1669) fue un pintor y grabador neerlandés. La historia del arte le considera uno de los mayores maestros barrocos de la pintura y el grabado, siendo con seguridad el artista más importante de la historia de los Países Bajos.
- Dutch
- Leiden, Netherlands
Rembrandt exudes confidence and urbanity in his Self-Portrait of 1640 (National Gallery, London), which was modeled upon courtly portraits by Raphael and Titian. These artists probably also inspired his Amsterdam signature, “Rembrandt” (dropping “Van Rijn”).
The following is a list of paintings by Rembrandt that are accepted as autograph by the Rembrandt Research Project. For other catalogues raisonnés of Rembrandt, see the "Rembrandt" navigation box below. The panel, which was originally taller, must have been cropped at top and bottom.
TitleYearTechniqueDimensions (cm)The Spectacles-pedlar (Sight)c. 1624Oil on panel21 x 17.8The Three Singers (Hearing)c. 1624Oil on panel21.6 x 17.8The Operation (Touch)c. 1624Oil on panel21.5 x 17.7The Unconscious Patient (Smell)c. 1624Oil on panel21.5 x 17.7- Early Life and Training
- Amsterdam and Marriage
- Continued Success
- Domestic Complications
- Bankruptcy
Rembrandt Harmenszoon van Rijn was born in Leiden in the Netherlands in 1606. His father was a miller, comfortably off and able to send Rembrandt to the town's Latin School. At the age of 14, Rembrandt began studying at the famous University of Leiden (unusual for a miller's son), but academic life did not suit him. After a few months he left to be...
In around 1631, Rembrandt moved to Amsterdam, the most prosperous port in northern Europe, and 'crowded with merchants from every nation'. It offered a young and successful artist far more opportunities than sleepy Leiden. Rembrandt lodged in the house of an art dealer called Hendrick van Uylenburgh, and while there, he met his landlord's young cou...
In 1639, Rembrandt and Saskia moved into a grander house, next to his old friend van Uylenburgh. He sketched endlessly - people on the street, beggars, circuses, women and children, Saskia. His painting was influenced by new developments in Italian art which reached the Netherlands via prints, and via his more travelled colleagues. Many of his cont...
Alone with a baby to care for, Rembrandt had to employ a nurse and took on a widow called Geertge Dircx. She became his common law wife for a short time, but then he took on another servant, Hendrickje Stoffels, and fell in love with her. Geertge took Rembrandt to court on the grounds that he had promised to marry her. He charged her with pawning s...
In the 1650s Amsterdam was hit by a massive economic depression. Rembrandt had not even completed half the payments on his house and his creditors began to chase him for money. In July 1656, he successfully applied for 'cessio bonorum' - a respectable form of bankruptcy which avoided imprisonment. All his goods, including an impressive collection o...
A finales de la década, Rembrandt había producido apenas algunas pinturas y pocos grabados de tema paisajístico. Estas pinturas solían destacar el aspecto dramático de la naturaleza, reflejada en árboles desarraigados y nubes ominosas ( Casa de campo ante un cielo tormentoso, 1641; Los tres árboles, 1643).
'Rembrandt and his pupils often painted people in fancy dress for decorative effect, but biblical characters were also depicted in this way.' Saint Jerome Reading in an Italian Landscape (1653...
