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The Entombment of Christ (c. 1633-1635) by Rembrandt The Entombment of Christ is an oil-on-oak panel painting by Rembrandt believed to be dated around c. 1624. It measures 32.2 x 40.5 cm. The composition is a variant of a painting of the same subject now in the Alte Pinakothek, in Munich. In 1783, the Scottish anatomist William Hunter bequeathed it to University College (now the University of ...
The Raising of Lazarus, Rembrandt.Oil on panel. 37 15/16 x 32 in. (96.36 x 81.28 cm). c. 1630-1632. Los Angeles County Museum of Art. The Raising of Lazarus is an oil-on-panel painting by the Dutch artist Rembrandt from early in his career; it was probably painted between 1630 and 1632.
There are multiple versions of Rembrandt's Head of Christ which are in the possession internationally of cultural institutions and individuals. During the course of the 19th-century it was supposed that these similar heads were based on a "Jewish model" (leading some to suppose that Rembrandt himself was Jewish, since he lived in what was considered the Jewish quarter of Amsterdam).
The Risen Christ Appearing to Mary Magdalene: 1638: Oil on panel: 61 x 49.5: Royal Collection: The Entombment: 1639: Oil on canvas: 92.6 x 68.9: Alte Pinakothek, Munich The Resurrection: 1635–1639: Oil on canvas: 92.9 x 67: Alte Pinakothek, Munich The Entombment of Christ: 1630s: Grisaille, panel: 32.1 x 40.3: Hunterian Museum and Art Gallery ...
Christ at Emmaus by Rembrandt, 1648, Louvre. Both the encounter on the road and the ensuing supper have been depicted in art, but the supper has received more attention. Medieval art tends to show a moment before Jesus is recognized; Christ wears a large floppy hat to help explain the initial lack of recognition by the disciples.
Rembrandt created several similar heads in varying poses, possibly as devotional objects. Today about a dozen are known. This one came into the collection via the John G. Johnson bequest. This face of Christ relates very closely to depictions found in two prints by Rembrandt that portray Christ preaching to an attentive audience. [1]
The woman in the background, who either represents Mary or Anna the Prophetess, was probably added after artist's death by an unknown painter working in Rembrandt's workshop. [2] [3] Rembrandt had painted the same motif at least twice before: in Simeon and Anna in the Temple, [4] [5] and in Simeon's Song of Praise. [6] [7]
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.