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Rembrandt or pupil. The painting is covered by a layer of yellowed varnish The Prophetess Anna in the Temple: 1650 or c. 1646: Oil on panel: 40.5 x 31.5: National Gallery of Scotland, Edinburgh: 210: The painting is covered by a layer of yellowed varnish The Nativity: 1646: Oil on canvas: 92 x 71: Alte Pinakothek, Munich: 211a
She rests her left foot on a foot-warmer and leans over to the left to draw the green curtain of the cradle in which the Child lies asleep under a red fur-lined coverlet. Mary wears a deep red gown and dark blue skirt, and a white kerchief and cap. Behind her in half-shadow, Joseph, in a brown working-dress, is shaping a yoke with his axe. From ...
The Adoration of the Magi is a painting of c. 1632 to 1633 recently attributed to Rembrandt. [1] [2] It was recognized as an original in 2016 after it fell off the wall at the home of its owners in Rome. They took it to be restored as the fall damaged the frame. The restorer realized the painting was not a copy as the owners believed.
A painting valued at $15,000 just two years ago is now expected to fetch up to $18 million at auction after being identified as the work of the Dutch master Rembrandt. “The Adoration of the ...
It is, however, still connected with Rembrandt's workshop and is grouped together with all the other versions. It was included in the 2011 exhibition "Rembrandt and the Face of Jesus" held in the museums of Detroit (DIA), Philadelphia (PMA) and Paris (Louvre) April 21, 2011 – February 12, 2012, no. 46.
Rembrandt Harmenszoon van Rijn (/ ˈ r ɛ m b r æ n t, ˈ r ɛ m b r ɑː n t /; [2] Dutch: [ˈrɛmbrɑnt ˈɦɑrmə(n)ˌsoːɱ vɑn ˈrɛin] ⓘ; 15 July 1606 [1] – 4 October 1669), usually simply known as Rembrandt, was a Dutch Golden Age painter, printmaker, and draughtsman.
The ruin symbolism in "Nativity" and "Adoration of the Magi" paintings first emerged in Early Netherlandish art around the mid-fifteenth century, in a distinct Romanesque style. [29] Early Netherlandish painters began to associate this style with the architecture of the Holy Land , in contrast to the vague Orientalism of earlier depictions.
The painting Ahasveros and Haman at the Feast of Esther is one of the few works of Rembrandt van Rijn whose complete provenance is known. The origin of the painting can be traced back to 1662, two years after its completion. There are only three figures in the picture and the banquet is suggested sketchily.
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