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Rembrandt is a 1936 British biographical film made by London Film Productions of the life of 17th-century Dutch painter Rembrandt van Rijn. [2] The film was produced and directed by Alexander Korda from a screenplay by June Head and Lajos Bíró based on a story by Carl Zuckmayer. The music score was by Geoffrey Toye and the cinematography by ...
The Rembrandt House Museum has fittings and furniture that are mostly not original but period pieces comparable to those Rembrandt might have had, and those in the many drawings and etchings set in the house, and contemporary paintings reflecting Rembrandt's use of the house for art dealing. His printmaking studio has been set up with a ...
The term is less frequently used of art after the late nineteenth century, although the Expressionist and other modern movements make great use of the effect. Especially since the strong twentieth-century rise in the reputation of Caravaggio, in non-specialist use the term is mainly used for strong chiaroscuro effects such as his, or Rembrandt's.
Inscribed on the reverse: Dees tekeningh vertoont de buiten amstelkant / Soo braaf getekent door heer rembrandts eygen hant / PKo (This drawing depicts the Buiten-Amstel, most able drawn by Master Rembrandt's own hand. P[hilips] Ko[ninck]). St. Jerome Reading in an Italian Landscape: c. 1650: Reed pen and wash: 25 x 20.7 cm: Kunsthalle Hamburg
The Three Crosses is a 1653 print in etching and drypoint by the Dutch artist Rembrandt van Rijn, which depicts the crucifixion of Jesus Christ. Most of his prints are mainly in etching and this one is a drypoint with burin adjustments from the third state onwards. [ 1 ]
This computer art image has the fisherman positioned facing into the left-hand rabatment square. Claude Monet's painting of a poppyfield includes one tall tree at the rightmost border of the left-hand rabatment square. Rembrandt's self-portrait places the lit part of his studio within the left-hand rabatment square. The artist himself stands at ...
The field of Rembrandt studies (study of Rembrandt's life and work, including works by his pupils and followers)—as an academic field in its own right with several noted Rembrandt connoisseurs and scholars—has been one of the most dynamic research areas of Netherlandish art history.
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]