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Rembrandt van rijn
Old Soldier
new24/Rembrandt van rijn-387834.jpg
first half of 17th century
Medium Oil on wood
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Rembrandt van rijn
The Supper at Emmaus
new24/Rembrandt van rijn-573437.jpg
1629
Medium Oil on panel
Dimensions 37.4 x 42.3 cm (14.7 x 16.7 in)
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Rembrandt van rijn
Selbstportrat mit toter Rohrdommel
new24/Rembrandt van rijn-753863.jpg
1639
Medium Oil on wood
Dimensions 121 x 89 cm
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Rembrandt van rijn
The abduction of Proserpina
new24/Rembrandt van rijn-677336.jpg
. 1631 (1630-1631)
Medium Oil on oak panel
Dimensions 84.4 x 79.7 cm (33.2 x 31.4 in)
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Rembrandt van rijn
The abduction of Proserpina
new24/Rembrandt van rijn-563846.jpg
1631 (1630-1631)
Medium Oil on oak panel
Dimensions 84.4 x 79.7 cm (33.2 x 31.4 in)
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Rembrandt van rijn
The Deposition.
new25/Rembrandt van rijn-774633.jpg
1632-1633
Medium oil on cedar panel
Dimensions 89.4 X 65.2 cm (35.2 X 25.7 in)
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Rembrandt van rijn
Portrait of a scholar.
new25/Rembrandt van rijn-577749.jpg
1631
Medium oil on canvas
Dimensions 104.5 X 92 cm (41.1 X 36.2 in)
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Rembrandt van rijn
Bust of a man in a gorget and a feathered beret.
new26/Rembrandt van rijn-694878.jpg
1626-1627
Medium oil on oak panel
Dimensions 40 x 29.4 cm (15.7 x 11.6 in)
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Rembrandt van rijn
Aristotle Contemplating a Bust of Homer
new26/Rembrandt van rijn-484739.jpg
1653(1653)
Medium oil on canvas
Dimensions 143.5 x 136.5 cm
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Rembrandt van rijn
Portrait of a Forty
new26/Rembrandt van rijn-435959.jpg
1634. oil on panel
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Rembrandt van rijn
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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