Art and Artists, Paintings, Painters, Prints, Printmakers, Illustration, Illustrators
Rembrandt
Art and Artists, Paintings, Painters, Prints, Printmakers, Illustration, Illustrators
Have you ever thought about what is gesture drawing and how to do a gesture drawing? The main goal of gesture drawing is to help you study of the human figure in motion. A gesture drawing helps you better understand the tensions of muscles, the effects of twisting on the torso of the body, and the range of motion in the joints. A gesture drawing will generally take just a minute or two, but could be done in just a few seconds with just one or two expressive lines. It is also useful to help you draw strenuous or spontaneous
Paintings of the famous love story or Ruth & Boaz - engineered by shrewd mother-in-law Naomi. Ruth the outsider becomes fore-mother of the great King David.
Rembrandt Harmensz. van Rijn: Moses at the Burning Bush. http://t.co/JtYGxh61Y3 Via @artbible
Drawings still considered to be by Rembrandt are aligned to the left Comparative illustrations are ranged down the centre and some ‘attributed’ drawings Drawings no longer considered to…
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
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
A scholar experiences the moral acts that come before—and go beyond—modern medicine.
Près de cent oeuvres, dont une vingtaine de dessins de Rembrandt, et une sélection des meilleures feuilles de ses élèves et de ses contemporains sont présentés à l'Institut néerlandais, jusqu'au 2 octobre.
1632 Pieter van Bleeck "Portrait of Rembrandt Van Ryn" mezzotint 35.4 x 25.3 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 5 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 - 4 also. 1632 Portrait of a Girl Wearing a Gold-trimmed Cloak oil on panel 59 x 44 cm Private Collection 1632 Portrait of a Man oil on wood 75.6 x 52.1 cm The Metropolitan Museum of Art, New York 1632 Portrait of a Man, probably a Member of the Van Beresteyn Family oil on canvas 111.8 x 88.9 cm The Metropolitan Museum of Art, New York 1632 Portrait of a Woman, probably a Member of the Van Beresteyn Family oil on canvas 111.8 x 88.9 cm The Metropolitan Museum of Art, New York 1632 Portrait of a Young Woman oil on panel 60 x 50 cm Pinacoteca di Brera, Milan 1632 Portrait of a Young Woman, Seated oil on canvas 92 x 71 cm Akademie der Bildenden Künste, Gemäldegalerie, Vienna 1632 Portrait of a Young Woman with a Black Cap This portrait of A Young Woman in a Black Cap was "bought" by the Nazi leader Hermann Goering during the war and, after a succession of owners, sold again at Sotheby's in 2009. Once thought to have been painted by a follower of Rembrandt, the Rembrandt Research Group now gives full authorship, after a recent cleaning, to the master himself. 1632 Portrait of a Young Woman with a Black Cap oil on canvas mounted on panel 68.7 x 53.5 cm 1632 Portrait of a Young Woman with a Black Cap ( detail ) oil on canvas mounted on panel 68.7 x 53.5 cm 1632 Portrait of Aeltje Pietersdr. Uylenburgh oil on panel 73.7 x 55.8 cm Mauritshuis, The Hague 1632 Portrait of Amalia van Solms oil on canvas 69.5 x 54.5 cm Musée Jacquemart-André, Paris 1632 Portrait of an Old Man oil on panel 66.9 x 50.7 cm Fogg Art Museum, Harvard University, Cambridge 1632 Portrait of Jacob de Gheyn ( III ) oil on oak panel 29.9 x 24.9 cm Dulwich Picture Gallery, London 1632 Portrait of Joris de Caulerij oil on canvas mounted on panel 102.4 x 84.3 cm Fine Arts Museums of San Francisco, CA 1632 Portrait of Marten Looten oil on oak panel 92.8 x 74.9 cm Los Angeles County Museum of Art, Pasadena, CA 1632 Portrait of Maurits Huygens oil on oak panel 31.2 x 24.6 cm Kunsthalle Hamburg, Germany 1632 Self Portrait Wearing a Hat oil on panel 21.8 x 16.3 cm Private Collection 1632 Self-Portrait with Wide-Brimmed Hat oil on panel 64.4 x 47.6 cm Kelvingrove Art Gallery and Museum, Glasgow, Scotland, UK 1632 St. Jerome Praying etching and drypoint on paper 10.9 x 8.1 cm ( plate ) 1632 Susanna van Collen, Wife of Jean Pellicorne with her daughter Anna oil on canvas 155.3 x 122.5 cm © The Wallace Collection, London 1632c Jean Pellicorne with his son Caspar oil on canvas 155.5 x 123 cm © The Wallace Collection, London 1632 The Abduction of Europa oil on oak panel 64.6 x 78.7 cm The J. Paul Getty Museum, Los Angeles, CA 1632 The Abduction of Europa ( detail ) 1632 The Anatomy Lesson of Dr. Nicolaes Tulp oil on canvas 169.5 x 216.5 cm Mauritshuis, The Hague, Netherlands 1632 The Anatomy Lesson of Dr. Nicolaes Tulp ( detail ) 1632 The Anatomy Lesson of Dr. Nicolaes Tulp ( detail ) 1632 The Press etching on paper 10.8 x 7.9 cm 1632 The Press etching on paper 12.3 x 8.8 cm 1632 View of Rhenen ink and wash 21.2 x 32.6 cm Museum Bredius, The Hague, Netherlands 1632 Young Woman in Profile oil on canvas 72 x 55 cm Nationalmuseum, Stockholm, Sweden 1632-33 Christ in the House of Mary and Martha pen and brown ink on paper 15.8 x 19.4 cm Teylers Museum, Haarlem, Netherlands 1632-33 Eli and Elkanah pen and bistre 14.5 x 12 cm 1632-33c Scholar in a Barret pen and bistre 15.5 x 16.3 cm 1632-33c The Entombment of Christ pen and wash 19 x 26 cm 1632-36 Self-Portrait etching on buff laid paper 5.1 x 4.5 cm ( plate ) 1632-36 Two Tramps, a Man and a Woman etching 6.3 x 4.8 cm ( plate ) 1632-37 Street Musicians ( Buskers ) etching on paper 14.1 x 11.6 cm 1632-37 The Crucifixion etching on paper 9.5 x 6.7 cm 1632-37 The Treasure Medal ( The Tribute Money ) etching, drypoint and burin on paper 7.3 x 10.3 cm 1632-39 Man with Wide-Brimmed Hat ink on light brown paper 16 x 9.8 cm Musées Royaux des Beaux-Arts, Brussels 1632-46 Passion Cycle for Frederick Henry, Prince of Orange: Seven paintings illustrating the life of Christ, commissioned by the Dutch Stadholder (chief magistrate) Frederik Hendrik, and painted by Rembrandt between 1632 and 1646. 1631 Christ on the Cross oil on canvas mounted on wood 92.9 x 72.6 cm © Eglise du Mas-d'Agenais, France 1633c The Raising of the Cross black chalk and wash in indian ink 23.2 x 18.7 cm Albertina, Vienna 1633c The Raising of the Cross oil on canvas 95 7 x 72.2 cm Alte Pinakothek, Munich 1632-33 The Deposition oil on cedar panel 89.4 x 65.2 cm Alte Pinakothek, Munich 1633-35 The Entombment of Christ oil on panel ( sketch ) 32.3 x 40.5 cm Hunterian Museum, Glasgow, UK 1635-39 The Entombment oil on canvas 92.6 x 68.9 cm 1636-39 The Ressurection oil on canvas mounted on panel 91.9 x 67 cm Alte Pinakothek, Munich 1636 The Ascension oil on canvas 93 x 68.7 cm Alte Pinakothek, Munich 1646 Adoration of the Shepherds oil on canvas 97 x 71.5 cm Alte Pinakothek, Munich 1632c Old Man with Beard, Fur Cap and Velvet Cloak etching on paper 15 x 13.1 cm ( plate ) 1632c Sheet of Studies with Self-Portrait etching on paper 9.9 x 103 cm 1632c Study of a Female Nude black chalk 16 x 12 cm 1632c Turbaned Soldier on Horseback etching on paper 8 x 5.6 cm 1633 A Young Woman at her Toilet 64 x 55 cm National Gallery of Canada, Ottawa 1633 Bald-Headed Old Man with a Short Beard etching on paper 5.6 x 3.8 cm cm 1633 Bellona oil on canvas 127 x 97.5 cm The Metropolitan Museum of Art, New York 1633 Bust of a Man in Oriental Dress oil on oak panel 85.8 x 63.8 cm Alte Pinakothek, Munich 1633 Bust of a Young and Laughing Woman, possibly a Portrait of Saskia van Uylenburgh oil on oak panel 52.5 x 44 cm Gemäldegalerie Alte Meister, Dresden, Germany 1633 Christ in the Storm on the Sea of Galilee oil on canvas 160 x 127 cm whereabouts unknown - stolen from: Isabella Stewart Gardner Museum, Boston, MA 1633 Daniel and Cyrus before the Idol Bel oil on panel 23.4 x 30.1 cm The J. Paul Getty Museum, Los Angeles, CA 1633 Jan Pietersz. Bruyningh, and His Wife Hillegont Pietersdr. Moutmaker oil on canvas 131 x 107 cm Isabella Stewart Gardner Museum, Boston, MA 1633 Joseph Tells his Dreams to his Parents and his Brothers oil on paper 51 x 39 cm 1633 Joseph's Coat Brought to Jacob etching and drypoint on white laid paper 10.8 x 8 cm ( plate ) 1633 Portrait of a Bearded Man in a Red Doublet oil on panel 50.8 c 63.5 cm Private Collection 1633 Portrait of a Bearded Man in a Wide-Brimmed Hat oil on panel 69.9 x 54.6 cm Norton Simon Museum, Pasadena, CA 1633 Portrait of a Man Rising from his Chair oil on canvas 48.9 x 38.7 cm Taft Museum of Art, Cincinnati, Ohio 1633 Portrait of a Woman oil on wood 67.9 x 50.2 cm The Metropolitan Museum of Art, New York 1633 Portrait of a Young Woman oil on wood 65.2 x 48.7 cm Museum of Fine arts, Houston, Texas 1633 Portrait of a Young Woman with a Fan oil on canvas 125.7 x 101 cm The Metropolitan Museum of Art, New York 1633 Portrait of Jan Harmensz Krul oil on canvas 128.5 x 100.5cm Gemäldegalerie Alte Meister, Kassel, Germany 1633 Portrait of Johannes Wtenbogaert oil on canvas 130 x 103 cm 1633 Portrait of Maertgen van Bilderbeecq oil on oak panel 67.4 x 55.2 cm Städel Museum, Frankfurt, Germany
Art and Artists, Paintings, Painters, Prints, Printmakers, Illustration, Illustrators
