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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. He is generally considered one of the greatest visual artists in ...
While best known for his paintings, Rembrandt (1606-1669) also was a prolific draftsman and printmaker who produced more than 300 prints over his lifetime depicting a range of subjects from ...
Rembrandt's teachers in Leiden were Jacob van Swanenburgh [note 1] (from 1621 to 1623, [5] with whom he learned pen drawing [6]) and Joris van Schooten. [note 2] [7]However, his six-month stay in Amsterdam in 1624, with Pieter Lastman and Jan Pynasc, was decisive in his training: Rembrandt learned pencil drawing, the principles of composition, and working from nature. [6]
Rembrandt statue and the sculptures of The Night Watch in 3D at the Rembrandtplein in Amsterdam Rembrandt statue in Leiden Rembrandt and Saskia. Rembrandt Harmenszoon van Rijn (1606–1669) is one of the most famous, [1] [2] controversial, and one of the best expertly researched (visual) artists in history.
A painting valued at $15,000 just two years ago is now ... led Sotheby’s to conclude the painting is “an autograph work by Rembrandt.” It now values the work at between £10 million and £15 ...
At the time of that sale, Christie’s attributed the biblical scene to the “Circle of Rembrandt,” suggesting it had been carried out by a student or an artist close to the famous painter, and ...
Metropolitan Museum of Art, New York: 63b: Rembrandt and (mainly) workshop. Companion piece to 63a. The woman’s left hand, which originally hung in a lower position, and the table on which it now rests, are probably executed by Rembrandt himself Portrait of a Man Trimming his Quill: 1632: Oil on canvas: 101.5 x 81.5: Schloss Wilhelmshöhe ...
In November 1985, Berlin-based art expert Jan Kelch announced that important details in the painting's style did not match the style of Rembrandt's known works, and that the painting was probably painted in 1650 by one of Rembrandt's students. "It is not a fake," Kelch averred. "It remains a great masterful work." [2]