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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.
The Parable of the Rich Fool (1627) by Rembrandt. The Parable of the Rich Fool, also known as The Money Changer, [1] is an oil painting on canvas of 1627 by Rembrandt, now in the Gemäldegalerie, Berlin. [2] Produced early in the artist's career, it depicts the eponymous Biblical parable. The model for the figure is said to have been Rembrandt ...
Wallace, Robert: The World of Rembrandt. (New York: Time-Life Books, 1968) Watkins, Catherine Bailey: Rembrandt's 1654 Life of Christ Prints: Graphic Chiaroscuro, the Northern Print Tradition, and the Question of Series. (Ph.D. diss., Case Western Reserve University, 2011) Wauschkuhn, Annette: Georg Simmels Rembrandt-Bild. Ein ...
The Abduction of Europa is Rembrandt's reinterpretation of the story, placed in a more contemporary setting. Rembrandt developed an interest in the classical world early in his life while in Amsterdam [2] which was a growing business-oriented center, and where he found work with great success. During this time, the international High Baroque ...
The field of Rembrandt studies (i.e. study of Rembrandt's life and work) — as an academic field in its own right with many noted Rembrandt scholars — has been very dynamic and well published since the Dutch Golden Age. The following is a list of notable Rembrandt experts (e.g. connoisseurs and scholars). Filippo Baldinucci; Adam Bartsch ...
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 ...
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 has evoked the kind of quasi-mythical, heroic-magical past that is the setting for King Lear and Cymbeline, and, as with Shakespeare, this remoteness has allowed him to insert into an episode of primitive grandeur the life-giving roughage of the grotesque [the figures at the extreme sides]". [20]