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The following is a list of paintings by Rembrandt that are accepted as autograph by the Rembrandt Research Project. For other catalogues raisonnés of Rembrandt, see the "Rembrandt" navigation box below.
Classified as a history painting, [4] The Storm on the Sea of Galilee is an oil-on-canvas painting and is about 160 x 128 cm in size. It was Rembrandt's earliest painting, completed when he was 29 years old, and it is the largest known historical work that he completed.
The Sacrifice of Isaac (Rembrandt) The Sacrifice of Isaac (Studio of Rembrandt) Saint Bartholomew (Rembrandt) Saint Matthew and the Angel (Rembrandt) Samson and Delilah (Rembrandt) Samson Threatening His Father-In-Law; Saul and David (painting) The Senses (Rembrandt) Simeon in the Temple; Slaughtered Ox; Still Life with Peacocks; The Stone Bridge
The best source for technical information on Rembrandt's paintings on the web is the Rembrandt Database containing all works of Rembrandt with detailed investigative reports, infrared and radiography images and other scientific details. [129]
The Night Watch is one of the most famous Dutch Golden Age paintings. Rembrandt's large painting (363 by 437 centimetres (12 by 14 + 1 ⁄ 2 feet)) is famed for transforming a group portrait of a civic guard company into a compelling drama energized by light and shadow . The title is a misnomer; the painting does not depict a nocturnal scene.
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.
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 self-portraits were created by the artist looking at himself in a mirror, [16] and the paintings and drawings therefore reverse his actual features. In the etchings the printing process creates a reversed image, and the prints therefore show Rembrandt in the same orientation as he appeared to contemporaries. [17]