|
|
|
|
|
|
Rembrandt Harmensz Van Rijn
A Medallion Portrait of Muhammad-Adil Shah of Bijapur
mk153
1654-1656
9.4x7.6cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Rembrandt Harmensz Van Rijn
City wall in the winter
mk210
c.1650
Canvas
74x105cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Rembrandt Harmensz Van Rijn
Saskia with a Child
c. 1636
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Rembrandt Harmensz Van Rijn
Hendrickje Stoffels in the Window
1656-57
Oil on canvas,
86 x 65 cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Rembrandt Harmensz Van Rijn
A woman with solfjader of a strutsplym
mk234
about 1660
100x83cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Rembrandt Harmensz Van Rijn
Sjalvportratt at about 21 ars alder
mk234
about 1627
20x16cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Rembrandt Harmensz Van Rijn
Self-Portrait
mk234
1659
84x66cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Rembrandt Harmensz Van Rijn
Joseph is accused of Potifars wife
mk234
1655
106x98cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Rembrandt Harmensz Van Rijn
Judebruden
mk234
1665-67
122x168cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Rembrandt Harmensz Van Rijn
Stadt auf einem Hugel bei sturmischem Wetter
1638(1638)
Oil on wood
52 ?? 72 cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Rembrandt Harmensz Van Rijn
kokspingan
1651
olja på duk 78x63
se
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Rembrandt Harmensz Van Rijn
batavernas trohetsed till claudius civilis
1661-1662
olja på duk 196x309
se
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Rembrandt Harmensz Van Rijn
batavernas trohetsed till claudius civilis, detalj
den sene rembrandts fria penselteknik framgår tydligt i framställningen av glaset t. h. på claudius-målningen
se
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Rembrandt Harmensz Van Rijn
Portret van Rembrandt
ca. 1640(1640) (1639-1641)
Medium Oil on panel
Dimensions 62.5 x 50 cm (24.6 x 19.7 in)
cyf
|
| |
|
|
|
|
|
|
|
|
|
|
|
1 | |
|
|
|
|
| Rembrandt Harmensz Van Rijn
|
b. 1606 Leiden, The Netherlands, d. 1669 Amsterdam,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.
|
