Art and Artists, Paintings, Painters, Prints, Printmakers, Illustration, Illustrators

1630c Self-Portrait oil on panel 70 x 57 cm Walker Art Gallery, Liverpool, UK Rembrandt Harmenszoon van Rijn (1606 – 1669) is considered one of the greatest painters and printmakers in European art and the most important in Dutch history. Having achieved youthful success as a portrait painter, Rembrandt’s later years were marked by personal tragedy and financial hardships. Yet his etchings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. His greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity. This is part 4 of a 14 - part post on the works of Rembrandt. For full biographical notes see part 1, the introduction. For earlier works, see parts 2 - 3 also. 1630 Smiling Self-Portrait with Hat etching on paper 5.4 x 4.9 cm 1630 The Good Samaritan oil on canvas 68.5 x 57.3 cm © The Wallace Collection, London 1630 The Good Samaritan sketch on paper 11.1 x 13.7 cm 1630 The Presentation in the Temple with the Angel etching on paper 10.2 x 7.8 cm 1630-31 An Old Man in Military Costume oil on panel 66 x 50.8 cm J. Paul Getty Museum, Los Angeles, CA 1630-31 Self-Portrait in Cloak with Flat Collar etching, drypoint and burin on paper 6.4 x 5.4 cm 1630-31 The Raising of Lazarus oil on oak panel 96.4 x 81.3 cm Los Angeles County Museum of Art, Los Angeles, CA 1630-31c Andromeda oil on panel 34.1 x 24.5 cm Mauritshuis, The Hague 1630-31c Diana at the Bath black chalk, washed with bistre 18.1 x 16.4 cm British Museum, London 1630-33c Susanna and the Elders sanguine on paper 23.5 x 36.4 cm Kupferstichkabinett, Berlin 1630-34 A Cavalry Battle etching on paper 10.6 x 8.1 cm 1630-34 A Pole Leaning on his Stick etching on canvas 8.2 x 4.3 cm 1630-34 Rider Seen from the Back etching on paper 8.2 x 5.8 cm 1630-34 Study Sheet ( fragment ) Self-Portrait etching on paper 5. x 5.5 cm 1630-34 Study Sheet with Self-Portrait etc. etching on paper 9.9 x 10.5 cm 1630-34 The Holy Family etching on paper 9.5 x 7.2 cm 1630-34 The Raising of Lazarus etching and burin retouched in black pen 36.6 x 25.8 cm 1630-34 The Small Lion Hunt, with Two Lions etching on paper 15.5 x 12.3 cm 1630-35 Self-Portrait oil on wood 22 x 17 cm The Metropolitan Museum of Art, New York 1630-39 Bearded Old Man with a High Forehead etching on paper 7.4 x 6.5 cm 1630c An Artist in his Studio pen and brown ink on paper 21.9 x 17 cm The J. Paul Getty Museum, Los Angeles, CA 1630c Beggar Leaning on a Stick, Facing Left etching on ivory laid paper 8.5 x 4.7 cm ( plate ) 1630c Beggar with a Wooden Leg etching on ivory laid paper 11.3 x 6.6 cm ( plate ) 1630c Bust of a Bearded Old Man red chalk, lightly touched with white chalk 11.4 x 91 cm The Louvre, Paris 1630c Bust of an Apostle red chalk 16.8 x 13.5 cm Hessisches Landesmuseum, Darmstadt, Germany 1630c Ragged Peasant with His Hands behind Him, Holding a Stick etching on ivory laid paper 9.3 x 6.7 cm ( plate ) 1630c Seated Old Man red chalk 14.4 x 14.6 cm Nationalmuseum, Stockholm 1630c The White Negress etching on paper 9.2 x 7.7 cm ( plate ) mid 1630s Self-Portrait 12.3 x 13.7 cm Kupferstichkabinett, Berlin 1630s Study Head of an Old Man oil on wood 21 x 18 cm The Metropolitan Museum of Art, New York 1631 An Old Woman Reading, Probably the Prophetess Hannah oil on panel 60 x 48 cm 1631 Bearded Man with Fur hat and Oriental Mantle ( Father of Rembrandt? ) etching and burin on paper 14.5 x 12.8 cm 1631 Bearded Old Man Seated in an Arm-Chair red chalk 25 x 17 cm 1631 Beggar Seated with his Dog etching and burin on paper 10.9 x 8.1 cm 1631 Beggar with Outstretched Left Arm etching on paper 6.3 x 4.1 cm 1631 Bust of a Beardless Man in a Fur Cloak and Cap etching on paper 7 x 5.8 cm 1631 Bust of a Young Man with a Cap etching on paper 6.4 x 5.8 cm 1631 Bust of an Old Man oil on panel 59.5 x 51.2 cm Private Collection, UK 1631 Farmer Standing with Hands Behind Back etching and burin on paper 5.9 x 5 cm 1631 Man Peeing etching on paper 8.3 x 4.9 cm 1631 Old Man with a Gold Chain oil on panel 83.1 x 75.7 cm Art Institute of Chicago, IL 1631 Old Man with a Long Beard etching on paper 6.8 x 6.6 cm 1631 Old Man with Beard with Downward Gaze etching retouched with brown pen on paper 12 x 11.8 cm 1631 Old Woman in a Fur-Trimmed Coat and Heavy Headdress etching on paper 5.8 x 5.3 cm 1631 Old Woman Sitting in a Hut with String of Onions on the Wall ( The Onion Woman ) etching on paper 12.7 x 8.5 cm 1631 Portrait of a Scholar oil on canvas 104.5 x 92 cm Hermitage Museum, St. Petersburg, Russia 1631 Portrait of Nicolaes Ruts Born in Cologne, Nicolaes Ruts (1573-1638) was a merchant who traded with Russia, the source no doubt, of the rich furs in which he posed for this portrait. Rembrandt's likeness of him, perhaps the first portrait commission the artist received from someone outside of his own family, was painted presumably for Ruts' daughter Susanna. A 1636 inventory of her property listed the picture of her father as "the portrait of Nicolaes Ruts made be Rembrandt." 1631 Portrait of Nicolaes Ruts oil on mahogany panel 116.8 x 87.3 cm Frick Collection, New York 1631 Rembrandt's Mother Sitting, with Oriental Headdress etching on paper 14.5 x 12.9 cm 1631 Rembrandt's Mother with her Hand on her Chest etching on paper 9.4 x 6.7 cm 1631 Scholar Reading oil on panel 60 x 48 cm Nationalmuseum, Stockholm 1631 Self-Portrait with Hat with Floppy Brim and Embroidered Mantle etching on paper 9.6 x 7.6 cm 1631 Self-Portrait with Hat with Floppy Brim and Embroidered Mantle etching on paper 14.8 x 13.1 cm 1631 Self-Portrait with Thick Fur Hat etching on paper 6.3 x 5.7 cm 1631 St. Peter in Prison ( The Apostle Peter Kneeling ) oil on panel Israel Museum, Jerusalem 1631 The Blind Violinist etching and burin on paper 7.8 x 5.3 cm 1631 The Leper etching on paper 9.4 x 6.4 cm 1631 The Presentation of Jesus in the Temple oil on panel 60.9 x 47.8 cm Mauritshuis, The Hague, Netherlands 1631-33 Self-Portrait in Oriental Attire with Poodle oil on oak panel 66.5 x 52 cm Petit Palais, Paris 1631-35 Joseph's Coat is Shown to Jacob etching on paper 10.7 x 8.1 cm 1631-1700 Woman Peeing etching on paper 7.5 x 6.8 cm 1631c Bearded Old Man red chalk with slight touches of black chalk 13.7 x 13.8 cm National Gallery of Art, Washington, DC 1631c Bust of Woman in High Headdress with Loose Chin Strap etching on paper 1631c Minerva oil on oak panel 60.5 x 49 cm Gemäldegalerie, Berlin 1631c Old Man Seated in an Armchair, Full-Length 22.6 x 15.7 cm Kupferstichkabinett, Berlin 1631c Sheet of Studies pen and bistre 11.6 x 15.6 cm 1631c The Abduction of Proserpina oil on oak panel 84.8 x 79.7 cm Gemäldegalerie, Berlin 1631c The Reading pen and brush, washes in grey 18 x 20 cm 1632 Man in Oriental Costume oil on canvas 152.7 x 111.1 cm The Metropolitan Museum of Art, New York 1632 Man Sharpening a Quill oil on canvas 102 x 82 cm Museumslandschaft Hessen Kassel, Germany 1632 Philosopher in Meditation 28 x 34 cm The Louvre, Paris

Rembrandt Drawings and More > Showcasing more than 100 of Rembrandt’s celebrated works, the exhibition commemorates the 350th anniversary of his death.

1648 Self Portrait Drawing at a Window etching, drypoint and engraving on buff laid paper 15.4 x 12.9 cm Rembrandt Harmenszoon van Rijn (1606 – 1669) is considered one of the greatest painters and printmakers in European art and the most important in Dutch history. Having achieved youthful success as a portrait painter, Rembrandt’s later years were marked by personal tragedy and financial hardships. Yet his etchings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. His greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity. This is part 11 of a 14 - part post on the works of Rembrandt. For full biographical notes see part 1, the introduction. For earlier works, see parts 2 - 10 also. 1647-48c The Singel in Amersfoort pen and bistre and wash 15.3 x 27.7 cm The Louvre, Paris 1647-48c The Western Gate pen and bistre and wash 16.5 x 22.6 cm Teylers Museum, Haarlem 1647-49 The River Amstel Viewed from Blauwbrug reed pen and brush in brown parchment 13.2 x 23.1 cm 1647c A Seated Female Nude as Susanna sketch 20.3 x 16.4 cm Kupperstichkabinett, Staatliche Museen, Preussischer Kulturbesitz, Berlin 1647c Farm-Buildings at the Dijk pen and bistre, washes in bistre and India ink 14.3 x 24.2 cm The British Museum, London 1647c Jan Six with a Dog, Standing by an Open Window pen sketch 22 x 17.5 cm Six Collection, Amsterdam 1648 Beggars Receiving Alms at the Door of a House etching and drypoint on ivory laid paper 17 x 12.7 cm 1648 Medea: or the Marriage of Jason and Creusa etching and drypoint on paper 24 x 17.7 cm 1648 Portrait of a Man Holding Gloves oil on wood 80.6 x 67.3 cm The Metropolitan Museum of Art, New York 1648 St. Jerome Beside a Pollard Willow etching and drypoint on ivory laid paper 18 x 13.3 cm 1648 The Pharisees in the Temple etching and drypoint on paper 7.1 x 12.9 cm 1648 The Supper at Emmaus oil on panel 68 x 65 cm The Louvre, Paris 1648-52 Abraham sends Hagar and Ishmael Away ink sketch on paper 17.1 x 22.4 cm 1648-52 David Receiving the News of Uriah’s Death ink sketch on paper 19.5 x 29.3 cm 1648-52 Landscape with a Drinking Cow etching and drypoint on Oriental paper 10.3 x 12.8 cm 1648-52 Landscape with a Milkman etching and drypoint on Oriental paper 6.4 x 17.5 cm 1648-52 Landscape with Obelisk etching and drypoint on paper 8.3 x 16.1 cm 1648-52 The Angel Appears to Joseph in a Dream ink sketch on paper 18.7 x 18.8 cm 1648-52 The Proclamation to the Shepherds ink and wash sketch on paper 21.9 x 18 cm 1648-52 Winter Scene with a Canal, Houses and Two Boats ink and wash sketch on paper 10.4 x 18 cm 1648-55c The Agony in the Garden pen and brown ink and brown wash on paper 19.6 x 19 cm Fitzwilliam Museum, Cambridge, UK 1648-56c Head of Christ oil on panel 25.5 x 20.1 cm Private Collection 1648c Portrait of a Man Reading oil on canvas 66.5 x 58 cm The Sterling and Francine Clark Art Institute, Williamstown, MA 1649 Bust of Bald-Headed Man in a Fur Coat etching on paper 7 x 6 cm 1649 The Hundred Guilder Print: 1646-50c Studies for the Sick Woman on the Hundred Guilder Print ink sketch on paper 10.1 x 12.2 cm 1649 The Hundred Guilder Print etching and drypoint on tan Japan paper 27.9 x 39.3 cm 1649-50 Fragment cut from the plate of "The Hundred Guilder" print etching, drypoint and burin on paper 14.1 x 7.5 cm 1649-50 Fragment from "The Hundred Guilder" print etching, drypoint and burin on paper 5.4 x 7.4 cm 1649-50 Fragment from "The Hundred Guilder" print etching, drypoint and burin on paper 19 x 12.2 cm 1649-50c Fragment from "The Hundred Guilder" print etching, drypoint and burin on paper 27.7 x 18.9 cm cm 1649-50c Tobias, Frightened by the Fish pen and bistre 20.6 x 28.9 cm Kobberstiksamling, Copenhagen 1649-53 Epiphany: a Night Piece etching and drypoint on paper 9.4 x 14.2 cm 1649-53 View of Some Houses with Trees and a Tower etching and drypoint on paper 12.2 x 32 cm 1650 Canal with a Large Boat and Bridge etching and drypoint on ivory laid paper 8.3 x 10.9 cm 1650 Landscape with a Square Tower etching and drypoint on off-white laid paper 8.8 x 15.6 cm 1650 Portrait of a Man in Military Costume ( attributed to ) oil on panel 128 x 103.8 cm Fitzwilliam Museum, Cambridge, UK 1650 The Shell Collecting exotic shells was a popular hobby in the 17th century, and it excited Rembrandt’s interest too. He had a small natural history collection of his own, including this marbled cone shell; it is similar in shape to the Conus Cervus, a ‘Deer’ cone. He rendered the form and markings of the shell with meticulous care on the copperplate. Note that the shell appears in mirror image. 1650 The Shell ( Conus Marmoreus ) etching, drypoint and burin on paper 9.7 x 12.9 cm 1650 Water with Fishermen and Two Swans - The Angler etching and drypoint on paper 8.2 x 10.8 cm 1650-52 (Hostel) in the Bend of a River pen in black and brown and brush in grey on light brown paper 14.1 x 20 cm 1650-52 Daniel in the Lion's Den ink and wash sketch on paper 22.2 x 18.4 cm 1650-52 Joseph in Prison Explains the Dreams of the Butler and the Baker ink sketch on paper 15.7 x 18.9 cm 1650-52 Susanna and the Elders pen in brown ink on white ( oxidized ) and subsequent brush in grey 20.1 x 18.8 cm 1650-52 The Bullock etching on paper 7.6 x 10.5 cm 1650-52 Tobias and the Angel say Goodbye to Raquel ink sketch on paper 19.4 x 27.3 cm 1650-52c A Farm on the Amsteldijk brown ink, brown wash and white gouache on cream antique laid paper 10.9 x 22.1 cm Harvard Art Museums - Fogg Museum, Cambridge, MA 1650-52c Head of Christ oil on wood 25 x 21.5 cm Staatliche Museen, Berlin 1650-52c Lion Resting, Turned to the Left ink and wash sketch 13.8 x 20.4 cm The Louvre, Paris 1650-59 Lying Lion ink and wash sketch on paper 14.1 x 20.4 cm 1650-53c Cottage Beside a Canal pen and brown ink with touches of brush and brown wash on cream laid paper 14.9 x 24.8 cm Art Institute of Chicago, IL 1650-54 Christ Preaching ( "La Petite Tombe" ) etching, burin and drypoint on ivory laid paper 15.5 x 20.7 cm 1650-54 Landscape with a Road beside a Ditch drypoint on Oriental paper 7.8 x 20.9 cm 1650-54 Peasant Family on the Tramp etching on ivory laid paper 11.4 x 9.3 cm 1650-54 The Adoration of the Shepherds: A Night Piece etching on paper 14.9 x 19.5 cm 1650-55 Christ Heals a Leper ink sketch on paper 14.7 x 17.7 cm 1650-55 Portrait of Hendrickje Stoffels with a Velvet Beret (1654-56 Portrait of Hendrickje Stoffels), (1656c Portrait of Hendrickje Stoffels) Hendrickje Stoffels entered Rembrandt's household as a housekeeper and dry nurse to his son Titus in 1649, seven years after the death of his wife Saskia. Hendrickje became Rembrandt's mistress, and in 1654 she gave birth to their daughter Cornelia. Hendrickje died in 1663. There is no documented portrait of Hendrickje Stoffels, and the identification of the sitter in this painting is largely based on the knowledge of the sitter's relationship with the artist, and the informality and affection with which she is represented. Her hair is decorated with jewels and she is shown wearing a fur wrap, with pearl earrings and a chain around her neck. The free brushwork, particularly in Hendrickje's wrap, has led to suggestions that the painting is unfinished. Yet given that the painting is signed, it is likely that Rembrandt himself considered it finished. The meticulous execution of the subject's face, giving it greater emphasis, is a technique found in many of Rembrandt's portraits. 1650-55 Portrait of Hendrickje Stoffels with a Velvet Beret oil on canvas 74 x 61 cm The Louvre, Paris 1650-55 The Dream of St Joseph oil on canvas105 x 83 cm Szépmûvészeti Múzeum, Budapest 1650-55 The Tower Swijgh Utrecht to Amsterdam sketch on paper 16.6 x 23.5 cm 1650-55c The Mocking of Christ pen and brown ink on paper 18.1 x 24.6 cm The J. Paul Getty Museum, Los Angeles, CA 1650-66 Self-Portrait in Cloak with Flat Collar etching and engraving on paper 8.5 x 7.1 cm 1650c A Haystack near a Farm 12.8 x 20 cm Chatsworth House, Derbyshire, UK 1650c A Sailing Boat on a Wide Expanse of Water pen and brown ink and brown wash on tinted paper 8.9 x 18.3 cm The J. Paul Getty Museum, Los Angeles, CA 1650c A Wooded Road pen and brown ink and brown wash on paper 15.9 x 20.2 cm The J. Paul Getty Museum, Los Angeles, CA 1650c Christ and the Canaanite Woman pen and brown ink and brown wash, corrections in white gouache on paper 20 x 27.9 cm The J. Paul Getty Museum, Los Angeles, CA 1650c Farmhouse Beneath Trees, with a Footbridge reed pen and brown ink, grey wash and white highlighting on paper 15.7 x 18.1 cm Fitzwilliam Museum, Cambridge, UK 1650c Landscape with a Cow Drinking etching and drypoint on ivory laid paper 10.2 x 12.9 cm 1650c Landscape with Three Gabled Cottages beside a Road etching and drypoint on off-white laid paper 1650c Man in a Golden Helmet oil on canvas 67.5 x 50.7 cm Staatliche Museen, Berlin 1650c The Mill oil on canvas 87.5 x 105.5 cm National Gallery of Art, Washington, DC 1650c View of Houtewaal ink and wash sketch 12.5 x 18.2 cm Chatsworth, Derbyshire, UK 1650s Drawing from the Nude Model in Rembrandt's Studio pen and brush in a brown wash over a chalk drawing 18 x 26.6 cm Hessisches Landesmuseum, Darmstadt, Germany

Art and Artists, Paintings, Painters, Prints, Printmakers, Illustration, Illustrators

in LACMA Rembrandt Harmenszoon van Rijn (1606 – 1669)

Rembrandt Harmenszoon van Rijn (1606 – 1669) painter and etcher of the Dutch Golden Age. One of the greatest painters and printmakers in European art history and the most important in Dutch history. 60 x 48 cm Public collection _________ Slight image restoration.by plumleaves

Cliff Schorer, a co-owner of Agnews gallery, determined that an art historian had smuggled the painting out of Europe ahead of the Nazi invasion of the Netherlands.

Cesar Santos, Cuban-American, studied at Miami Dade College and the New World School of the Arts before travelling to Florence, where he trained at the Angel Academy of Art under the tutelage of Michael John Angel, a student of Pietro Annigoni. He returned to Miami, where he developed his philosophy of marrying both the classical and the modern juxtaposed within one painting. His influences range from the Renaissance to the masters of the nineteenth century to Modernism.

Rembrandt techniques serve as inspiration for thousands of artists who aspire to learn from Rembrandt. Here are 5 tips from one of the greatest Old Masters.

My last post was about color theory on a macro scale–how colors are used to create the larger composition. This post is about composing with color on a micro scale–the close up. And mor…

An Old Man in Military Costume Rembrandt Harmensz. van Rijn Dutch, about 1630 - 1631 Oil on panel 26 x 20 in. Jean Paul Getty Museum www.getty.edu/museum Getty Center Los Angeles 1200 Getty Center Drive Los Angeles, CA 90049

1630c Self-Portrait oil on panel 70 x 57 cm Walker Art Gallery, Liverpool, UK Rembrandt Harmenszoon van Rijn (1606 – 1669) is considered one of the greatest painters and printmakers in European art and the most important in Dutch history. Having achieved youthful success as a portrait painter, Rembrandt’s later years were marked by personal tragedy and financial hardships. Yet his etchings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. His greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity. This is part 4 of a 14 - part post on the works of Rembrandt. For full biographical notes see part 1, the introduction. For earlier works, see parts 2 - 3 also. 1630 Smiling Self-Portrait with Hat etching on paper 5.4 x 4.9 cm 1630 The Good Samaritan oil on canvas 68.5 x 57.3 cm © The Wallace Collection, London 1630 The Good Samaritan sketch on paper 11.1 x 13.7 cm 1630 The Presentation in the Temple with the Angel etching on paper 10.2 x 7.8 cm 1630-31 An Old Man in Military Costume oil on panel 66 x 50.8 cm J. Paul Getty Museum, Los Angeles, CA 1630-31 Self-Portrait in Cloak with Flat Collar etching, drypoint and burin on paper 6.4 x 5.4 cm 1630-31 The Raising of Lazarus oil on oak panel 96.4 x 81.3 cm Los Angeles County Museum of Art, Los Angeles, CA 1630-31c Andromeda oil on panel 34.1 x 24.5 cm Mauritshuis, The Hague 1630-31c Diana at the Bath black chalk, washed with bistre 18.1 x 16.4 cm British Museum, London 1630-33c Susanna and the Elders sanguine on paper 23.5 x 36.4 cm Kupferstichkabinett, Berlin 1630-34 A Cavalry Battle etching on paper 10.6 x 8.1 cm 1630-34 A Pole Leaning on his Stick etching on canvas 8.2 x 4.3 cm 1630-34 Rider Seen from the Back etching on paper 8.2 x 5.8 cm 1630-34 Study Sheet ( fragment ) Self-Portrait etching on paper 5. x 5.5 cm 1630-34 Study Sheet with Self-Portrait etc. etching on paper 9.9 x 10.5 cm 1630-34 The Holy Family etching on paper 9.5 x 7.2 cm 1630-34 The Raising of Lazarus etching and burin retouched in black pen 36.6 x 25.8 cm 1630-34 The Small Lion Hunt, with Two Lions etching on paper 15.5 x 12.3 cm 1630-35 Self-Portrait oil on wood 22 x 17 cm The Metropolitan Museum of Art, New York 1630-39 Bearded Old Man with a High Forehead etching on paper 7.4 x 6.5 cm 1630c An Artist in his Studio pen and brown ink on paper 21.9 x 17 cm The J. Paul Getty Museum, Los Angeles, CA 1630c Beggar Leaning on a Stick, Facing Left etching on ivory laid paper 8.5 x 4.7 cm ( plate ) 1630c Beggar with a Wooden Leg etching on ivory laid paper 11.3 x 6.6 cm ( plate ) 1630c Bust of a Bearded Old Man red chalk, lightly touched with white chalk 11.4 x 91 cm The Louvre, Paris 1630c Bust of an Apostle red chalk 16.8 x 13.5 cm Hessisches Landesmuseum, Darmstadt, Germany 1630c Ragged Peasant with His Hands behind Him, Holding a Stick etching on ivory laid paper 9.3 x 6.7 cm ( plate ) 1630c Seated Old Man red chalk 14.4 x 14.6 cm Nationalmuseum, Stockholm 1630c The White Negress etching on paper 9.2 x 7.7 cm ( plate ) mid 1630s Self-Portrait 12.3 x 13.7 cm Kupferstichkabinett, Berlin 1630s Study Head of an Old Man oil on wood 21 x 18 cm The Metropolitan Museum of Art, New York 1631 An Old Woman Reading, Probably the Prophetess Hannah oil on panel 60 x 48 cm 1631 Bearded Man with Fur hat and Oriental Mantle ( Father of Rembrandt? ) etching and burin on paper 14.5 x 12.8 cm 1631 Bearded Old Man Seated in an Arm-Chair red chalk 25 x 17 cm 1631 Beggar Seated with his Dog etching and burin on paper 10.9 x 8.1 cm 1631 Beggar with Outstretched Left Arm etching on paper 6.3 x 4.1 cm 1631 Bust of a Beardless Man in a Fur Cloak and Cap etching on paper 7 x 5.8 cm 1631 Bust of a Young Man with a Cap etching on paper 6.4 x 5.8 cm 1631 Bust of an Old Man oil on panel 59.5 x 51.2 cm Private Collection, UK 1631 Farmer Standing with Hands Behind Back etching and burin on paper 5.9 x 5 cm 1631 Man Peeing etching on paper 8.3 x 4.9 cm 1631 Old Man with a Gold Chain oil on panel 83.1 x 75.7 cm Art Institute of Chicago, IL 1631 Old Man with a Long Beard etching on paper 6.8 x 6.6 cm 1631 Old Man with Beard with Downward Gaze etching retouched with brown pen on paper 12 x 11.8 cm 1631 Old Woman in a Fur-Trimmed Coat and Heavy Headdress etching on paper 5.8 x 5.3 cm 1631 Old Woman Sitting in a Hut with String of Onions on the Wall ( The Onion Woman ) etching on paper 12.7 x 8.5 cm 1631 Portrait of a Scholar oil on canvas 104.5 x 92 cm Hermitage Museum, St. Petersburg, Russia 1631 Portrait of Nicolaes Ruts Born in Cologne, Nicolaes Ruts (1573-1638) was a merchant who traded with Russia, the source no doubt, of the rich furs in which he posed for this portrait. Rembrandt's likeness of him, perhaps the first portrait commission the artist received from someone outside of his own family, was painted presumably for Ruts' daughter Susanna. A 1636 inventory of her property listed the picture of her father as "the portrait of Nicolaes Ruts made be Rembrandt." 1631 Portrait of Nicolaes Ruts oil on mahogany panel 116.8 x 87.3 cm Frick Collection, New York 1631 Rembrandt's Mother Sitting, with Oriental Headdress etching on paper 14.5 x 12.9 cm 1631 Rembrandt's Mother with her Hand on her Chest etching on paper 9.4 x 6.7 cm 1631 Scholar Reading oil on panel 60 x 48 cm Nationalmuseum, Stockholm 1631 Self-Portrait with Hat with Floppy Brim and Embroidered Mantle etching on paper 9.6 x 7.6 cm 1631 Self-Portrait with Hat with Floppy Brim and Embroidered Mantle etching on paper 14.8 x 13.1 cm 1631 Self-Portrait with Thick Fur Hat etching on paper 6.3 x 5.7 cm 1631 St. Peter in Prison ( The Apostle Peter Kneeling ) oil on panel Israel Museum, Jerusalem 1631 The Blind Violinist etching and burin on paper 7.8 x 5.3 cm 1631 The Leper etching on paper 9.4 x 6.4 cm 1631 The Presentation of Jesus in the Temple oil on panel 60.9 x 47.8 cm Mauritshuis, The Hague, Netherlands 1631-33 Self-Portrait in Oriental Attire with Poodle oil on oak panel 66.5 x 52 cm Petit Palais, Paris 1631-35 Joseph's Coat is Shown to Jacob etching on paper 10.7 x 8.1 cm 1631-1700 Woman Peeing etching on paper 7.5 x 6.8 cm 1631c Bearded Old Man red chalk with slight touches of black chalk 13.7 x 13.8 cm National Gallery of Art, Washington, DC 1631c Bust of Woman in High Headdress with Loose Chin Strap etching on paper 1631c Minerva oil on oak panel 60.5 x 49 cm Gemäldegalerie, Berlin 1631c Old Man Seated in an Armchair, Full-Length 22.6 x 15.7 cm Kupferstichkabinett, Berlin 1631c Sheet of Studies pen and bistre 11.6 x 15.6 cm 1631c The Abduction of Proserpina oil on oak panel 84.8 x 79.7 cm Gemäldegalerie, Berlin 1631c The Reading pen and brush, washes in grey 18 x 20 cm 1632 Man in Oriental Costume oil on canvas 152.7 x 111.1 cm The Metropolitan Museum of Art, New York 1632 Man Sharpening a Quill oil on canvas 102 x 82 cm Museumslandschaft Hessen Kassel, Germany 1632 Philosopher in Meditation 28 x 34 cm The Louvre, Paris

Rembrandt Harmensz. van Rijn, Leiden 1606 - Amsterdam 1669 Alter Mann in Militärkostüm - An old man in military costume (ca. 1630 - 31) J. Paul Getty Museum, Los Angeles The subject, who appears in different guises in several other paintings by Rembrandt van Rijn and his contemporaries, wears a plumed hat and metal breastplate. His military costume may symbolize Dutch strength and patriotism during the struggle for independence from Spain. Although he faces front, the man's torso is turned in a three-quarter view; his watery eyes gazing off to the side give the image a sense of immediacy. Rembrandt deftly captured the contrasting textures of materials: the downiness of the ostrich feather, the velvety softness of the cap, and the smooth coldness of the metal breastplate. The furrowed skin around the bridge of the man's nose, the moistness of his eyes, and the wispiness of his mustache and beard map out the physical process of aging. Source: J. Paul Getty Museum

1630c Self-Portrait oil on panel 70 x 57 cm Walker Art Gallery, Liverpool, UK Rembrandt Harmenszoon van Rijn (1606 – 1669) is considered one of the greatest painters and printmakers in European art and the most important in Dutch history. Having achieved youthful success as a portrait painter, Rembrandt’s later years were marked by personal tragedy and financial hardships. Yet his etchings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. His greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity. This is part 4 of a 14 - part post on the works of Rembrandt. For full biographical notes see part 1, the introduction. For earlier works, see parts 2 - 3 also. 1630 Smiling Self-Portrait with Hat etching on paper 5.4 x 4.9 cm 1630 The Good Samaritan oil on canvas 68.5 x 57.3 cm © The Wallace Collection, London 1630 The Good Samaritan sketch on paper 11.1 x 13.7 cm 1630 The Presentation in the Temple with the Angel etching on paper 10.2 x 7.8 cm 1630-31 An Old Man in Military Costume oil on panel 66 x 50.8 cm J. Paul Getty Museum, Los Angeles, CA 1630-31 Self-Portrait in Cloak with Flat Collar etching, drypoint and burin on paper 6.4 x 5.4 cm 1630-31 The Raising of Lazarus oil on oak panel 96.4 x 81.3 cm Los Angeles County Museum of Art, Los Angeles, CA 1630-31c Andromeda oil on panel 34.1 x 24.5 cm Mauritshuis, The Hague 1630-31c Diana at the Bath black chalk, washed with bistre 18.1 x 16.4 cm British Museum, London 1630-33c Susanna and the Elders sanguine on paper 23.5 x 36.4 cm Kupferstichkabinett, Berlin 1630-34 A Cavalry Battle etching on paper 10.6 x 8.1 cm 1630-34 A Pole Leaning on his Stick etching on canvas 8.2 x 4.3 cm 1630-34 Rider Seen from the Back etching on paper 8.2 x 5.8 cm 1630-34 Study Sheet ( fragment ) Self-Portrait etching on paper 5. x 5.5 cm 1630-34 Study Sheet with Self-Portrait etc. etching on paper 9.9 x 10.5 cm 1630-34 The Holy Family etching on paper 9.5 x 7.2 cm 1630-34 The Raising of Lazarus etching and burin retouched in black pen 36.6 x 25.8 cm 1630-34 The Small Lion Hunt, with Two Lions etching on paper 15.5 x 12.3 cm 1630-35 Self-Portrait oil on wood 22 x 17 cm The Metropolitan Museum of Art, New York 1630-39 Bearded Old Man with a High Forehead etching on paper 7.4 x 6.5 cm 1630c An Artist in his Studio pen and brown ink on paper 21.9 x 17 cm The J. Paul Getty Museum, Los Angeles, CA 1630c Beggar Leaning on a Stick, Facing Left etching on ivory laid paper 8.5 x 4.7 cm ( plate ) 1630c Beggar with a Wooden Leg etching on ivory laid paper 11.3 x 6.6 cm ( plate ) 1630c Bust of a Bearded Old Man red chalk, lightly touched with white chalk 11.4 x 91 cm The Louvre, Paris 1630c Bust of an Apostle red chalk 16.8 x 13.5 cm Hessisches Landesmuseum, Darmstadt, Germany 1630c Ragged Peasant with His Hands behind Him, Holding a Stick etching on ivory laid paper 9.3 x 6.7 cm ( plate ) 1630c Seated Old Man red chalk 14.4 x 14.6 cm Nationalmuseum, Stockholm 1630c The White Negress etching on paper 9.2 x 7.7 cm ( plate ) mid 1630s Self-Portrait 12.3 x 13.7 cm Kupferstichkabinett, Berlin 1630s Study Head of an Old Man oil on wood 21 x 18 cm The Metropolitan Museum of Art, New York 1631 An Old Woman Reading, Probably the Prophetess Hannah oil on panel 60 x 48 cm 1631 Bearded Man with Fur hat and Oriental Mantle ( Father of Rembrandt? ) etching and burin on paper 14.5 x 12.8 cm 1631 Bearded Old Man Seated in an Arm-Chair red chalk 25 x 17 cm 1631 Beggar Seated with his Dog etching and burin on paper 10.9 x 8.1 cm 1631 Beggar with Outstretched Left Arm etching on paper 6.3 x 4.1 cm 1631 Bust of a Beardless Man in a Fur Cloak and Cap etching on paper 7 x 5.8 cm 1631 Bust of a Young Man with a Cap etching on paper 6.4 x 5.8 cm 1631 Bust of an Old Man oil on panel 59.5 x 51.2 cm Private Collection, UK 1631 Farmer Standing with Hands Behind Back etching and burin on paper 5.9 x 5 cm 1631 Man Peeing etching on paper 8.3 x 4.9 cm 1631 Old Man with a Gold Chain oil on panel 83.1 x 75.7 cm Art Institute of Chicago, IL 1631 Old Man with a Long Beard etching on paper 6.8 x 6.6 cm 1631 Old Man with Beard with Downward Gaze etching retouched with brown pen on paper 12 x 11.8 cm 1631 Old Woman in a Fur-Trimmed Coat and Heavy Headdress etching on paper 5.8 x 5.3 cm 1631 Old Woman Sitting in a Hut with String of Onions on the Wall ( The Onion Woman ) etching on paper 12.7 x 8.5 cm 1631 Portrait of a Scholar oil on canvas 104.5 x 92 cm Hermitage Museum, St. Petersburg, Russia 1631 Portrait of Nicolaes Ruts Born in Cologne, Nicolaes Ruts (1573-1638) was a merchant who traded with Russia, the source no doubt, of the rich furs in which he posed for this portrait. Rembrandt's likeness of him, perhaps the first portrait commission the artist received from someone outside of his own family, was painted presumably for Ruts' daughter Susanna. A 1636 inventory of her property listed the picture of her father as "the portrait of Nicolaes Ruts made be Rembrandt." 1631 Portrait of Nicolaes Ruts oil on mahogany panel 116.8 x 87.3 cm Frick Collection, New York 1631 Rembrandt's Mother Sitting, with Oriental Headdress etching on paper 14.5 x 12.9 cm 1631 Rembrandt's Mother with her Hand on her Chest etching on paper 9.4 x 6.7 cm 1631 Scholar Reading oil on panel 60 x 48 cm Nationalmuseum, Stockholm 1631 Self-Portrait with Hat with Floppy Brim and Embroidered Mantle etching on paper 9.6 x 7.6 cm 1631 Self-Portrait with Hat with Floppy Brim and Embroidered Mantle etching on paper 14.8 x 13.1 cm 1631 Self-Portrait with Thick Fur Hat etching on paper 6.3 x 5.7 cm 1631 St. Peter in Prison ( The Apostle Peter Kneeling ) oil on panel Israel Museum, Jerusalem 1631 The Blind Violinist etching and burin on paper 7.8 x 5.3 cm 1631 The Leper etching on paper 9.4 x 6.4 cm 1631 The Presentation of Jesus in the Temple oil on panel 60.9 x 47.8 cm Mauritshuis, The Hague, Netherlands 1631-33 Self-Portrait in Oriental Attire with Poodle oil on oak panel 66.5 x 52 cm Petit Palais, Paris 1631-35 Joseph's Coat is Shown to Jacob etching on paper 10.7 x 8.1 cm 1631-1700 Woman Peeing etching on paper 7.5 x 6.8 cm 1631c Bearded Old Man red chalk with slight touches of black chalk 13.7 x 13.8 cm National Gallery of Art, Washington, DC 1631c Bust of Woman in High Headdress with Loose Chin Strap etching on paper 1631c Minerva oil on oak panel 60.5 x 49 cm Gemäldegalerie, Berlin 1631c Old Man Seated in an Armchair, Full-Length 22.6 x 15.7 cm Kupferstichkabinett, Berlin 1631c Sheet of Studies pen and bistre 11.6 x 15.6 cm 1631c The Abduction of Proserpina oil on oak panel 84.8 x 79.7 cm Gemäldegalerie, Berlin 1631c The Reading pen and brush, washes in grey 18 x 20 cm 1632 Man in Oriental Costume oil on canvas 152.7 x 111.1 cm The Metropolitan Museum of Art, New York 1632 Man Sharpening a Quill oil on canvas 102 x 82 cm Museumslandschaft Hessen Kassel, Germany 1632 Philosopher in Meditation 28 x 34 cm The Louvre, Paris

Rembrandt van Rijn - Self-Portrait (Close-up), 1659 National Art Gallery Washington DC

Even after his death, Rembrandt continues to be one of the most renowned master painters in world history. His impeccable mastery of his craft serves...

Rijksmuseum ou l’histoire de la peinture néerlandaise du siècle d’or. L’extraordinaire et néanmoins classique panoplie des œuvres des grands maitres néerlandais s’exhibe sans pudeur au Museumplein, dans le bâtiment conçu par l’architecte Pierre Cuypers. C’est au Sud d’Amsterdam que vous trouverez le Rijksmuseum, porte flamboyante du quartier des musées, non loin de son célèbre voisin […]

Portrait of Rembrandt possibly by Dinon after "Self-Portrait" 1639 etching on China paper 11.2 x 9.1 cm Yale University Art Gallery, New Haven, CT Rembrandt Harmenszoon van Rijn (1606 – 1669) is considered one of the greatest painters and printmakers in European art and the most important in Dutch history. Having achieved youthful success as a portrait painter, Rembrandt’s later years were marked by personal tragedy and financial hardships. Yet his etchings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters. His greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity. This is part 7 of a 14 - part post on the works of Rembrandt. For full biographical notes see part 1, the introduction. For earlier works, see parts 2 - 6 also. 1635 A Study for "The Great Jewish Bride'" pen and brush and brown ink with wash 24 x 19 cm Nationalmuseum, Stockholm, Sweden 1635 The Great Jewish Bride etching, drypoint and burin on paper 21.9 x 16.7 cm 1635 The Great Jewish Bride etching, drypoint and engraving on paper 21.9 x 16.8 cm 1635-80 The Great Jewish Bride etching on paper 1635 Christ Driving the Money Changers from the Temple etching on ivory laid paper 13.6 x 16.8 cm ( plate ) 1635 Jan Wtenbogaert, Preacher of the Remonstrants etching and drypoint on paper 22.5 x 18.7 cm 1635 Jerome Kneeling in Prayer, Gazing Downward etching on paper 11.4 x 8 cm 1635 Man in Oriental Dress oil on panel 72 x 54.5 cm 1635 Portrait of Philips Lucasz oil on oak panel 79.5 x 58.9 cm The National Gallery, London 1635 Rape of Ganymede oil on canvas 177 x 129 cm Gemäldegalerie Alte Meister, Dresden, Germany 1635c Study for "Rape of Ganymede" 18.3 x 16 cm Kuperstich-Kabinett der Staatlichen, Dresden 1635 Samsom Threatening his Father-in-Law oil on canvas 158.5 x 130.5 cm Gemäldegalerie, Berlin 1635 Saskia van Uylenburgh in Arcadian Costume as Flora oil on canvas 123.5 x 97.5 cm National Gallery, London 1635c The First Oriental Head ( 1 of 4 ) etching on paper 15.1 x 12.5 cm 1635c Second Oriental Head ( 2 of 4 ) etching on paper 15.1 x 12.5 cm 1635 Third Oriental Head ( 3 of 4 ) etching on paper 15.6 x 13.4 cm 1635c The Fourth Oriental Head ( 4 of 4 ) etching on paper 15.8 x 13.5 cm 1635 The Pancake Woman etching on ivory laid paper 10.8 x 7.8 cm 1635 The Quacksalver etching on paper 7.4 x 3.8 cm 1635 The Stoning of St. Stephen etching on ivory laid paper 9.5 x 8.5 cm 1635-36 Studies of grieving Mary sketch on paper 20.1 x 14.3 cm 1635-36c A Woman Sitting Up in Bed sketch 14 x 14.6 cm Courtauld Institute Gallery, London 1635-36c Study of a Man Talking to a Woman Seated on the Left pen and brown ink on paper 10 x 10 cm The J. Paul Getty Museum, Los Angeles, CA 1635-38 Belshazzar's Feast oil on canvas 167.6 x 209.2 cm The National Gallery, London 1635-38c Saskia Lying in Bed, a Woman Sitting at her Feet sketch 22.8 x 16.5 cm Staatliche Graphische Sammlung, Munich 1635-39 Female Head etching on paper 12.7 x 10.3 cm 1635-39 Three Female Heads etching retouched in grey brush 12.6 x 10.3 cm 1635-39 Jacob Caresses Benjamin-Abraham Caresses Isaac etching on paper 11.6 x 8.9 cm 1635-39 One of the Three Kings Worship Mary and the Child sketch on paper 17.7 x 15.9 cm 1635-39 The Actor Willem Ruyter as Oriental Monarch pen and brush in brown on light brown prepared paper 17.7 x 13.1 cm 1635-39c Study of Saskia? brown ink, brown wash and white gouache on light tan antique laid paper 7 x 6.3 cm Harvard Art Museums - Fogg Museum, Cambridge, MA 1635-40c St. Paul Preaching in Athens pen and brown ink, brush and brown and reddish washes, lead white heightening, touched with red chalk 18 x 20.7 cm The British Museum, London 1635-41 Running Boy with a Stick pen and brush in brown and white paint on light brown prepared paper 14 x 10.7 cm 1635-41 The Concord of the State oil on oak panel 74.6 x 101cm Museum Boijmans Van Beuningen, Rotterdam 1635-51 Standing Man with Right Arm Outstretched pen in brown on light brown prepared paper 11.2 x 5.4 cm 1635-60 Sleeping Boy sketch on paper 13 x 17.5 cm 1635c A Nurse and an Eating Child sketch 16.5 x 13 cm Albertina, Graphische Sammlung, Vienna 1635c A Woman Sitting up in Bed ink sketch 14.8 x 19.1 cm 1635c A Woman with a Small Child on her Lap ink sketch 16 x 13.6 cm The Louvre, Paris 1635c Bearded Man in High Cap pen and bistre, wash, slight washes of white 16.9 x 12.5 cm The British Museum, London 1635c Curly Headed Man with a Wry Mouth etching on paper 6.5 x 6.2 cm 1635c Joseph Expounding the Prisoners' Dreams pen and bistre and wash 15.5 x 18 cm 1635c Rembrandt and Saskia in the Parable of the Prodigal Son oil on canvas 161 x 131 cm Gemäldegalerie Alte Meister, Dresden, Germany 1635c Saskia Asleep in Bed, Reclining pen and bistre 9.9 x 9.5 cm Musée des Beaux-Arts, Brussels 1635c Soldier and Rearing Horse pen and bistre 12.9 x 8.5 cm Museum of Fine Arts of the University, Moscow 1635c Study for Jacob Lamenting pen and bistre and wash 17.2 x 15.5 cm Kupferstichkabinett, Berlin 1635c Study of a High Priest pen and bistre 8.6 x 7.8 cm Graphische Sammlung, Munich 1635c The Annunciation pen and bistre 14.4 x 12.4 cm Musée Communal, Besançon, France 1635c The Lamentation over the Dead Christ oil on paper mounted on oak panel 31.9 x 26.7 cm The National Gallery, London 1635c The Strolling Musicians etching on paper 13.9 x 11.6 cm 1635c The Virgin and Child Seated near a Window pen and bistre and wash 15.5 x 13.7 cm The British Museum, London 1635c Two Studies of a Baby with a Bottle ink sketch 10.1 x 12.4 cm Staatliche Graphische Sammlung, Munich 1635c Zacharias? and the Angel brown ink on off-white antique laid paper 10.9 x 11.5 cm Harvard Art Museums - Fogg Museum, Cambridge, MA 1636 A Woman with a Child Frightened by a Dog ink sketch 18.4 x 14.6 cm Szépmüvészeti Múzeum, Budapest 1636c A Woman Comforting a Child Frightened by a Dog ink sketch 10.3 x 10.2 cm Collection Frits Lugt, Institut Néerlandais, Paris 1636 Abraham's Sacrifice oil on canvas 195 x 132.3 cm Alte Pinakothek, Munich 1636? Abraham's Sacrifice red and black chalk, wash in indian ink, heightened with white 19.4 x 14.6 cm British Museum, London 1636 Christ Before Pilate etching on paper 55.1 x 44.6 cm 1636 Samuel Menasseh ben Israel etching on paper 14.9 x 10.3 cm 1636 Self-Portrait with Saskia etching on paper 10.4 x 9.5 cm 1636 Studies of the Head of Saskia and other Women etching on white laid paper 15.4 x 12.7 cm 1636 Susanna at the Bath oil on oak panel 47.2 x 38.6 cm Mauritshuis, The Hague, Netherlands 1636 The Blinding of Samson oil on canvas 276 x 206 cm The Städel, Frankfurt am Main, Germany 1636 The Return of the Prodigal Son etching on ivory laid paper 15.7 x 13.7 cm 1636 Tobit is Healed by his Son oil on panel 47 x 39 cm Staatsgalerie, Stuttgart, Germany 1636-37c Boaz and Ruth pen and bistre 11.9 x 11.9 cm Kupferstichkabinett, Berlin 1636-38c Self-Portrait oil on panel 63.2 x 50.5 cm Norton Simon Museum, Pasadena, CA 1636-40 Young woman ( Saskia? ) sitting by a Window pen and brush in brown and white paint on light brown prepared paper 17.5 x 13.4 cm 1636-43 Danaë oil on canvas 185 x 202.5 cm Hermitage Museum, St. Petersburg, Russia 1636c Lot and His Daughters pen and bistre 15.2 x 19.1 cm Goethe Nationalmuseum, Weimar, Germany 1636c Study of Heads and Figures ink sketch Barber Institute of the Arts, Birmingham University, England 1636c The Departure of Tobias pen and bistre and wash 16.5 x 9 cm The Louvre, Paris 1636c The Investiture of St. Augustine pen and bistre, wash, covered with white 20.9 x 16.5 cm Herzog Anton Ulrich Museum, Braunschweig, Germany

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Condition: as pictured, aging, no restoration required. Dimensions: 25.5 x 18.3 cm. The painting is baring signature "Glenn Brown", in the lower right. The painting has a reference number marked on verso, which in our opinion belong to the previous collections this artwork was part of. The artwork is offered as after the artist, sold as is. Offering a fine mixed media painting of a figure study of a woman. The painting shows early Expressionism and Modernism influence. The colors are vibrant in nicely toned hues. The artwork appears to have a gallery stamp on verso, or it may be the name of the previous collection and a collection reference number next to it. Borrowing from art history and popular culture, Glenn Brown transforms a familiar visual history into something extraordinary and alien. Paintings by Rembrandt, Fragonard, Salvador Dalí, Frank Auerbach and many others, including the illustrators for science fiction novels, have all been used by the artist as starting blocks. Brown adopts various accidental alterations as painterly strategies, grossly exaggerating them to question what it is to paint and to transfer people, places and objects into this medium. In his work, naturalistic colour becomes putrid or kitsch, figures are elongated and enlarged into the grotesque, flesh grows or begins to rot and heavy impasto brush marks, painstakingly copied, are rendered completely flat. Shipped with care. We ship world wide. All shipments are with tracking. Standard shipping is by national post as registered mail. Premium shipping available through DHL Express upon request. Please view our other listings for an amazing selection of sculptures, paintings, works on paper, editions and other small antiques. Thank you for viewing.