Rembrandt Harmenszoon van Rijn ( ; Dutch: Ã, ['r? mbr? nt '?? rm? (n) so: nv? n' r? in]
Rembrandt never went abroad, but he was strongly influenced by the work of Italian masters and Dutch artists who had studied in Italy, such as Pieter Lastman, Caravaggists Utrecht, and Flemish Baroque Peter Paul Rubens. Having achieved a young success as a portrait painter, Rembrandt's recent years are characterized by personal tragedies and financial difficulties. But his paintings and paintings were very popular throughout his life, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters.
The portrait of Rembrandt from his contemporaries, self-portraits and illustrations of scenes from the Bible is considered his greatest creative victory. His self-portraits form a unique and intimate biography, in which the artist observes himself without pride and with the highest sincerity. Rembrandt's main contribution in the history of graphic art is the transformation of the etching process from a relatively new reproduction technique into a true art form, along with Jacques Callot. His reputation as the greatest traitor in media history was established in his lifetime and has never been questioned since. Some of his paintings left the Netherlands while he lived, but the prints were circulated throughout Europe, and his wider reputation was originally based on their own.
In his works he exhibits classical iconographic knowledge, which he creates to fit his own experience needs; thus, the description of a biblical scene is informed by Rembrandt's knowledge of the specific text, the assimilation of his classical composition, and his observations of the Jewish population in Amsterdam. Because of his empathy for the human condition, he has been called "one of the great prophets of civilization". The French sculptor Auguste Rodin says, "Compare me with Rembrandt!" With Rembrandt, the Art giant, we must prostrate before Rembrandt and never compare anyone to him! " Francisco Goya, often considered among the last of the Old Masters, said "I already have three masters: Nature, Velázquez, and Rembrandt." Vincent van Gogh writes, "Rembrandt is so deep into the mystery that he says things that there are no words in any language, with justice they call Rembrandt - witches - that's not an easy job." The impressionist Max Liebermann said: "Every time I see Frans Hals, I feel like painting, every time I see Rembrandt, I feel like giving up".
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Kehidupan
Rembrandt Harmenszoon van Rijn was born on 15 July 1606 in Leiden, in the Netherlands, now the Netherlands. He is the ninth child born of Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuijtbrouck. His family is quite wealthy; his father was a miller and his mother was a baker's daughter. Religion is the central theme in Rembrandt's paintings and the spiritual period in which he lives makes his faith a concern. His mother was Roman Catholic, and his father was a member of the Dutch Reformed Church. Although his work reveals a profound Christian faith, there is no evidence that Rembrandt was officially a member of any church, although he had five of his sons baptized in the Dutch Reformed churches in Amsterdam: four in Oude Kerk (Old Church) and one, Titus, in Zuiderkerk (Southern Church).
As a boy he studied in a Latin school. At the age of 14, he was enrolled at the University of Leiden, although according to the present he had a greater tendency toward painting; he soon apprenticed to the Leiden history painter Jacob van Swanenburgh, with whom he spent three years. After a brief but important six-month apprenticeship with painter Pieter Lastman in Amsterdam, Rembrandt stayed a few months with Jacob Pynas and then started his own workshop, though Simon van Leeuwen claimed that Joris van Schooten taught Rembrandt in Leiden. Unlike many of his contemporaries who traveled to Italy as part of their artistic training, Rembrandt never left the Netherlands during his lifetime.
He opened a studio in Leiden in 1624 or 1625, which he shared with friends and colleagues Jan Lievens. In 1627, Rembrandt began accepting students, among them Gerrit Dou in 1628.
In 1629, Rembrandt was found by the statesman Constantijn Huygens (the father of mathematician and the Dutch physicist Christiaan Huygens), who earned an important commission from the Hague court at Rembrandt. As a result of this relationship, Prince Frederik Hendrik continued to buy paintings from Rembrandt until 1646.
At the end of 1631 Rembrandt moved to Amsterdam, then flourished as the new business capital of the Netherlands, and began practicing as a professional painter for the first time, with great success. He originally lived with an art dealer, Hendrick van Uylenburgh, and in 1634, married Hendrick's cousin, Saskia van Uylenburgh. Saskia comes from a good family: her father is a lawyer and burgemeester (mayor) Leeuwarden. When Saskia, as the youngest daughter, became an orphan, she lived with an older sister in Het Bildt. Rembrandt and Saskia were married at local church St. Annaparochie without the presence of Rembrandt's relatives. That same year, Rembrandt went bankrupt in Amsterdam and a member of a local union. He also obtained a number of students, among them Ferdinand Bol and Govert Flinck.
In 1635, Rembrandt and Saskia moved into their own home, hiring fashionable Nieuwe Doelenstraat. In 1639 they moved to a renowned new house (now Rembrandt House Museum) in the upper class' Breestraat '(eng: Broadway'), today known as Jodenbreestraat (Jodenbreestraat 4.1011 NK Amsterdam-now) in what became a Jewish settlement ; then the environment to come. Mortgages to finance the purchase of 13,000 guilders will be a major cause for financial difficulties in the future. Rembrandt should be able to easily pay a house with a large income, but it seems that his expenses always follow his income, and he may have made some unsuccessful investments. It was there that Rembrandt often sought out his Jewish neighbors to model for his Old Testament scenes. Although they are now prosperous, the couple experienced some personal setbacks; their son Rumbartus died two months after his birth in 1635 and their daughter Cornelia died at the age of three weeks in 1638. In 1640, they had a second daughter, also named Cornelia, who died after living more than a month. Only their fourth child, Titus, who was born in 1641, survived to adulthood. Saskia died in 1642 immediately after Titus's birth, possibly from tuberculosis. Rembrandt's pictures of him in his sick bed and his death were among his most moving works.
During Saskia's illness, Geertje Dircx was employed as Titus's nurse and nurse and also became Rembrandt's lover. He will then demand Rembrandt with a breach of promise (euphemism for an appeal under a breach of promise) to marry and be granted 200 gulden allowances a year. Rembrandt tried to make him commit for twelve years to a mental hospital or a poor home (called "bridewell") in Gouda, knowing that he had pledged the jewelry he had been given to Saskia.
In the late 1640s Rembrandt started a relationship with the much younger, Hendrickje Stoffels, who had been his maiden. In 1654 they had a daughter, Cornelia, brought Hendrickje a letter from the Reformed Church to answer the allegations "that she had taken prostitutes with Rembrandt the painter." He acknowledged this and was banned from receiving communion. Rembrandt was not summoned to appear in the Church council because he was not a member of the Reformed Church. Both are considered legally married under general law, but Rembrandt does not marry Hendrickje. Had he remarried, he would lose access to the trust set for Titus in Saskia's will.
Rembrandt lived beyond his means, purchased artwork (including his own bidding job), prints (often used in his paintings) and rare, which probably led to a court arrangement to avoid bankruptcy in 1656, selling most of his paintings and collections. Antiques. The sales list persisted and gave us good insights into the Rembrandt collection, which, apart from the paintings and drawings of the Old Master, included the statue of the Roman Emperor, Japanese armor clothes among many objects from Asia, and a collection of natural history and minerals. But the price realized in sales in 1657 and 1658 was disappointing. Rembrandt was forced to sell his house and his printing press and move to a simpler accommodation in Rozengracht in 1660. The authorities and creditors generally accommodated him, except the Amsterdam painter's union, which introduced a new rule that no one in the Rembrandt situation could trade as a painter. To get around this, Hendrickje and Titus founded the business as an art dealer in 1660, with Rembrandt as an employee.
In 1661 Rembrandt (or rather a new business) was contracted to complete the work for the newly built town hall, but only after Govert Flinck, previously assigned artist, died without starting painting. The resulting work, The Conspiracy of Claudius Civilis , was rejected and returned to the painter; surviving fragments are just a fraction of the overall work. It was around this time that Rembrandt took his last student, Aert de Gelder. In 1662 he still fulfilled a large commission for portraits and other works. When CosimoÃ, III de 'Medici, Duke of Tuscany came to Amsterdam in 1667, he visited Rembrandt at his home.
Rembrandt lived longer than Hendrickje, who died in 1663, and Titus, who died in 1668, left a baby girl. He died in his son's year, on October 4, 1669 in Amsterdam, and was buried as a poor man in an unknown tomb in Westerkerk. It's in a 'kerkgraf' (tomb owned by the church) somewhere under the tombstone in the church. After twenty years, his body was taken and destroyed, as usual with the remains of the poor at the time.
Maps Rembrandt
Work
In a letter to Huygens, Rembrandt offers the only surviving explanation of what he wants to achieve through his art: the greatest and most natural movement , translated from de ieste de meeste en de natuurlijkste beweegelijkheid . The word "beweegelijkheid" is also argued to mean "emotion" or "motive". Whether this refers to purpose, material or otherwise, is open to interpretation; In any way, critics have drawn particular attention to the way Rembrandt unites worldly and spiritually smoothly.
Previous 20th-century connoisseurs claim Rembrandt has produced over 600 paintings, nearly 400 paintings and 2,000 images. More recent scholarship, from the 1960s to the present (led by the Rembrandt Research Project), often controversially, has denied its oeuvre to nearly 300 paintings. The prints, traditionally all called etchings, although many are produced in whole or in part with carvings and sometimes drypoints, have a much more stable number slightly below 300. Rembrandt likely makes more images in his life than 2,000, but that still exists more rare than expected. Two experts claim that the number of images whose signature status can be considered an effective "definite" is no higher than about 75, although this is disputed. The list will be inaugurated at a scientific meeting in February 2010.
At one time about ninety paintings were counted as Rembrandt's self portraits, but it is now known that he had his students copy his own portrait as part of their training. Modern science has reduced the number of signatures to more than forty paintings, as well as several drawings and thirty-one paintings, which includes many of the most remarkable images of the group. Some people show him posing in fancy clothing like history, or pulling a face to himself. His oil paintings tracked the progress of an uncertain young man, through the dapper and painter of the highly successful 1630s portrait, to the troubled but very powerful portraits of his old age. Together they provided a very clear picture of the man, his appearance and his psychological makeup, as expressed by his very obsolete face.
In his portrait and portrait, he exposes the nanny's face in such a way that the ridge of the nose almost always forms a demarcation line between brightly lit and dark areas. Rembrandt's face was a partially dismissed face; and the nose, bright and clear, pierces into the halftone puzzle, serves to focus the viewer's attention on, and to dramatize, the division between the flood of light - the extraordinary clarity - and the thoughtful furor.
In a number of biblical works, including The Raising of the Cross, Joseph Recounts His Dreams and St. Stephen's Rhetoric, Rembrandt painted himself as a character in the crowd. Durham points out that this is because the Bible is for Rembrandt "a kind of diary, a record of the moments in his own life".
Among the more prominent characteristics of Rembrandt's work is the use of chiaroscuro, the theatrical work of light and shadow originating from Caravaggio, or, more likely, from the Dutch Caravaggio, but adapted for very personal means. What is also important is the dramatic and lively presentation of his subject, without the rigid formality that his contemporaries often display, and a deep affection for mankind, regardless of wealth and age. His closest relative - his wife Saskia, his son Titus and wife of Hendrickje - is often depicted in his paintings, many of which have mythical, biblical or historical themes.
Images by Rembrandt and his students have been extensively studied by many artists and scholars for centuries. Draughtsmanship has been originally portrayed as an individualistic style of art that closely resembles old East Asian gentlemen, especially Chinese masters: "a combination of formal clarity and calligraphic vitality in a pen or brush movement that is closer to Chinese painting in technique and taste than European art before 20th century ".
Period, theme, and style
Throughout his career, Rembrandt took his main subject as the theme of portraits, landscapes, and narratives. For the latter, he was especially praised by his contemporaries, who praised him as the major translator of biblical stories for his expertise in representing emotion and attention to detail. The style, his painting evolved from the beginning of the "delicate" way, characterized by fine technique in illusory illustration, to the end of the "rough" treatment of the multicolored paint surface, allowing the illusion of the shape suggested by the tactile qualities of the paint itself.
Parallel developments can be seen in Rembrandt's expertise as a print maker. In the etching of his maturity, especially since the late 1640s onward, the freedom and breadth of his images and his paintings find expression in the print media as well. His works include a variety of materials and techniques, sometimes leaving a large area of ​​white paper to suggest space, at other times using complex webs to produce rich dark tones.
It was during the Leiden Rembrandt period (1625-1631) that Lastman's influence was most prominent. It is also possible that Lievens has a strong impact on his work as well. The painting is rather small, but rich in detail (for example, in costume and jewelry). Religious themes and allegorism are favored, as well as troninya. In 1626 Rembrandt produced his first painting, a widespread dissemination that would largely become internationally renowned. In 1629 he completed Judas Repentant, Restoring Silver Sections and Artist in His Studio, working evidence that his interest in handling light and various paint applications, was a major advance first in its development as a painter.
During the early years of Amsterdam (1632-1636), Rembrandt began painting a dramatic and mythical biblical dramatic scene in high contrast and large format ( The Blinding of Samson, 1636, Belshazzar Party , c.Ã, 1635 DanaÃÆ' , 1636), trying to imitate the baroque style of Rubens. With the help of occasional assistant at the Uylenburgh workshop, he painted many small portraits commission ( Jacob de GheynÃ, III ) and large ( Jan Rijcksen Shipwright Portrait and his wife , 1633, Anatomy of Dr. Nicolaes Tulp , 1632).
By the late 1630s Rembrandt had produced several paintings and many landscape paintings. Often this landscape highlights a natural drama, featuring fallen trees and an unpleasant sky ( Cottage before Stormy Sky , c.Ã, 1641; The Three Trees , 1643). From 1640 his work became less energized and quieter in tone, perhaps reflecting personal tragedies. Scripture scenes are now more often derived from the New Testament than the Old Testament, as never before. In 1642 he painted The Night Watch, the most important of the important group portrait commissions he had received in this period, and where he sought to find a solution to the problem of compositions and narratives that had been tried before. work.
In the decade after Night Watch , Rembrandt's paintings vary greatly in size, subject, and style. The earlier tendency to create dramatic effects especially with strong contrast of light and shadow gives way for the use of bigger and more saturated frontal and color areas. Simultaneously, the numbers are placed parallel to the image plane. These changes can be seen as a movement toward the classical composition mode and, considering the use of more expressive brushstrokes as well, may indicate familiarity with Venetian art (Susanna and the Elders, 1637-47). At the same time, there is a sharp decline in painting work that supports landscape painting and drawing. In these graphic works the natural drama finally gave way to the quiet Dutch rural scenes.
In the 1650s, Rembrandt's style changed again. The colors get richer and the brush strokes are more pronounced. With these changes, Rembrandt distance himself from previous work and current fashion, which is increasingly leaning towards good detail works. Its use of light becomes rougher and louder, and it shines to almost nothing. A single approach to painting applications may have been suggested in part by familiarity with Titian's work, and can be seen in the context of current discussions about 'completion' and the quality of the painting surface. Contemporary accounts sometimes show disagreement over Rembrandt's rudeness, and the artist himself is said to have prevented visitors from looking too closely at his paintings. The tactile manipulation of paint may be listening to medieval procedures, when the mimetic effect of rendering informs the surface of the painting. The end result is a very diverse, highly layered and often haphazard handling of paint, which shows both shape and space in an illusive and highly individual way.
In later years biblical themes are still often depicted, but the emphasis shifts from dramatic group scenes to intimate-like portrayal ( James the Apostle , 1661). In his later years, Rembrandt painted his most reflective portrait (from 1652 to 1669 he painted fifteen), and several moving images of men and women ( The Jewish Bride, c.Ã,1666) - in love, in life, and in the presence of God. Etchings
Rembrandt produced etchings for most of his career, from 1626 to 1660, when he was forced to sell his printing press and practically abandoned the etchings. Only a troubled year in 1649 did not produce a date job. He took it easily for etching and, although he also learned to use the burin and partially engraved many dishes, the freedom of etching techniques is essential for his work. He is very closely involved in the whole process of graphic arts, and must have scored at least the earliest examples of his own paintings. At first he used a style based on the image, but soon moved to one based on the painting, using many lines and many bites with acid to reach the strength of different lines. Toward the end of the 1630s, he reacted in this way and moved to a simpler style, with less bite. He worked on so-called Hundred Guilder Print gradually throughout the 1640s, and it was "an important work in the middle of his career", from which his last etching style began to emerge. Although the prints only survive in two countries, the first is very rare, many reworking proofs can be seen under the final print and many images survive for the elements.
In the mature work of the 1650s, Rembrandt is more ready to improvise on plates and large prints typically persist in some states, up to eleven, often radically changed. He now uses hatcheries to create his dark areas, which often take up most of the dishes. He also experimented with printing effects on various types of paper, including Japanese papers, which he often used, and on vellum. He started using "surface tone," leaving a thin ink layer on the plates instead of wiping it clean to print every impression. He makes more use of drypoints, exploit, especially in landscapes, rich fuzzy spines that this technique provides for the first few impressions.
The prints have a subject similar to the paintings, though twenty-seven self-portraits are relatively more common, and other people's portraits are less so. There are forty-six landscapes, mostly small, most of which set the journey for landscape graphic treatment until the end of the 19th century. A third of the etchings are religious subjects, many of whom are treated with modest simplicity, while others are the most monumental of prints. Some erotic compositions, or just obscene, have nothing in common in his paintings. He has, until it is forced to sell it, an incredible collection of prints by other artists, and many loans and influences in his work can be traced to such diverse artists as Mantegna, Raphael, Hercules Seghers, and Giovanni Benedetto Castiglione.
The Night Watch
Rembrandt painted a large painting of Captain Frans Banning Cocq Capitol Company between 1640 and 1642. This image was called the Dutch De Nachtwacht and The Night Watch by Sir Joshua Reynolds because in the 18th century the picture was so dim and damaged that it was almost indistinguishable, and it looked like a night scene. After being cleaned up, it was found to represent a broad day - a party of shooters stepping from a dingy courtyard to blinding sunlight.
The piece was assigned to a new hall of Kloveniersdoelen , a branch of a civilian militia musketeer. Rembrandt departs from the convention, commanding that such genre pieces should be grandiose and formal, better than the action scenes. Instead, he points out that the militia prepares to begin a mission (what kind of missions, ordinary patrols or special events, is a matter of debate).
Contrary to what is often said, the work was hailed as a success from the beginning. Parts of the canvas were cut (approximately 20% of the left side was removed) to make the painting in accordance with its new position when it was transferred to the city hall of Amsterdam in 1715; Rijksmuseum has a smaller copy of what is considered a full original composition; the four figures ahead are in the center of the canvas. The painting is now in the Rijksmuseum.
Indian Miniature
Rembrandt was influenced by Mughal miniatures during his later life. He carved out at least two dozen reproductions of Mughal paintings despite never traveling to India. This miniature includes paintings of Shah Jahan, Akbar, Jahangir and Dara Shikoh.
Expert rating
In 1968, the Rembrandt Research Project began under the sponsorship of the Dutch Organization for the Advancement of Scientific Research; initially expected to endure a very optimistic ten years. Art historians work with experts from other fields to reassess the authenticity of the works associated with Rembrandt, using all available methods, including advanced technical diagnostics, and for compiling a complete new catalog of his paintings. As a result of their findings, many of the paintings previously linked to Rembrandt have been removed from their list, although others have been added back. Many of those who were removed are now regarded as the work of his disciples.
One example of the activity is The Polish Rider , in New York's Frick Collection. The author of Rembrandt has been questioned by at least one scholar, Alfred von Wurzbach, in the early twentieth century, but for decades then most scholars, including the writing of the leading authority in English, Julius S. Held, agree that it was indeed by the teacher. However, in the 1980s, Dr. Josua Bruyn of the Rembrandt Project Project carefully and hesitantly connected the painting with one of Rembrandt's closest disciples, Willem Drost, of whom little is known. However, Bruyn remains a minority opinion, Drost's authorship advice is now generally rejected, and Frick himself never changes his own attribution, the label still reads "Rembrandt" and is not "associated with" or "school". The more recent opinions have shifted more firmly in favor of Frick, with Simon Schama (in his 1999 book Rembrandt's Eyes) and Rembrandt Project scholar Ernst van de Wetering (Melbourne Symposium, 1997) both arguing for attribution to the master. Scholars who still question the authorship of Rembrandt feel that its implementation is uneven, and it supports different attributions for different parts of the work.
A similar problem was made by Simon Schama in his book Rembrandt's Eye on the verification of titles related to the subject described in Rembrandt's works. For example, the exact subject depicted in Aristotle with Bust of Homer (recently titled by curators at the Metropolitan Museum) has been directly challenged by Schama who applied for Paul Crenshaw scholarship. Schama presents a substantial argument that the famous Apelles ancient Greek painter depicted in contemplation by Rembrandt and not Aristotle.
Another painting, Pilate Handwashing , is also a questionable attribution. The critical opinion of this image has been varied since 1905, when Wilhelm von Bode described it as "somewhat abnormal work" by Rembrandt. Scholars from the date of the painting to the 1660s and assigned to anonymous pupils, perhaps Aert de Gelder. Its composition has a superficial resemblance to adult works by Rembrandt but lacks master commands on illumination and modeling.
Attribution and re-attribution work is in progress. In 2005, four oil paintings previously linked to Rembrandt's students were reclassified as Rembrandt's own work: The Study of Parents in Profile and The Study of Parents with Beard US private collections < The Study of Woman Crying , owned by the Detroit Art Institute, and Portrait of the Elderly Women in the White Bonnet , was painted in 1640. Old Man Seated in a Chair is a further example: in 2014, Professor Ernst van de Wetering offered his view to The Guardian that the demotion of the 1652 Old Man's Seating in the Chair was a big mistake. it is the most important painting that is necessary in terms of the Rembrandt experiment ". This was highlighted earlier by Nigel Konstam who studied Rembrandt throughout his career.
Rembrandt's studio practice itself is a major factor in the difficulty of attribution, because, like many masters in front of him, he encourages his students to copy his paintings, sometimes finishing or retouching them for sale as originals, and sometimes selling them as official copies. In addition, his style proved quite easy for the most talented students to imitate. A more complicated problem is the uneven quality of Rembrandt's own works, and his often stylish evolution and experiments. In addition, later there was a replica of his work, and a restoration that seriously damaged his original work so that it could no longer be recognized. It is likely that there will never be a universal agreement on what and what is not the original Rembrandt.
Painting materials
The technical investigations of Rembrandt's paintings in the possession of the GemÃÆ'¤ldegalerie Alte Meister and in GemÃÆ'¤ldegalerie Alte Meister (Kassel) were done by Hermann KÃÆ'¼hn in 1977. The pigment analysis of about thirty paintings has shown that the Rembrandt palette consists of the following pigments: white tin, various ochres, Vandyke brown, black bone, black charcoal, black light, vermilion, madder lake, azurite, ultramarine, yellow lake and lead-yellow tin. One painting (Saskia van Uylenburgh as Flora) is reported to contain gamboge. Rembrandt rarely uses pure blue or green, the most striking exception being the Belshazzar Party at the National Gallery in London. The book by Bomford explains the latest technical investigations and analysis of Rembrandt's pigment paintings especially at the National Gallery in London. The entire pigment array used by Rembrandt can be found in ColourLex. The best source for technical information about Rembrandt's paintings on the web is the Rembrandt Database which contains all of Rembrandt's works with detailed investigation reports, infrared images and radiography and other scientific details.
Name and signature
" Rembrandt " was a modification of the spelling of the first name of the artist he introduced in 1633. " Harmenszoon " indicates that his father's name is Harmen. " van Rijn " indicates that his family lives near the Rhine.
Roughly, his earliest signature (about 1625) consisted of the initials " R ", or the monogram " RH " (for Rembrant Harmenszoon), and began in 1629, " RHL "(" L "stands, perhaps, for Leiden). In 1632, he used this monogram earlier in the year, then added his family name to it, " RHL-van Rijn ", but replaced this form in the same year and started using his own first name with the original spelling, " Rembrant ". In 1633 he added "a", and maintained this form consistently ever since, proving that this little change meant something to him (whatever it was). This change is purely visual; it does not change the way his name is spoken. Strangely, although many paintings and paintings are signed with these modified first names, most of their documents that mention them during their lifetime retain the original "Rembrant" spelling. (Note: the rough chronology of the above signature is applicable to painting, and to a lesser extent in the painting: from 1632, perhaps, there is only one etch marked "RHL-v. Rijn," the large format "Lazarus's Promotion," Ã, B 73. His practice of signing his work with his first name, followed by Vincent van Gogh, may have been inspired by Raphael, Leonardo da Vinci and Michelangelo who, as now, are referred by their own first names.
Workshop
Rembrandt runs a large workshop and has many students. The list of Rembrandt's pupils from the period in Leiden as well as his time in Amsterdam is quite long, especially since his influence on the painters around him is so great that it is difficult to know whether someone is working for him in his studio or just copying it. style for customers who want to get Rembrandt. A partial list should include Ferdinand Bol, Adriaen Brouwer, Gerrit Dou, Willem Drost, Heiman Dullaart, Gerbrand van den Eeckhout, Carel Fabritius, Govert Flinck, Hendrick Fromantiou, Aert de Gelder, Samuel Dirksz van Hoogstraten, Abraham Janssens, Godfrey Kneller, Philip de Koninck, Jacob Levecq, Nicolaes Maes, JÃÆ'¼rgen Ovens, Christopher PaudiÃÆ'Ÿ, Willem de Poorter, Jan Victors, and Willem van der Vliet.
Museum collection
The most famous collection of Rembrandt's works is at Amsterdam's Rijksmuseum, including The Night Watch and The Jewish Bride, Mauritshuis in The Hague, Hermitage Museum in St. Petersburg. St. Petersburg, the National Gallery in London, the GemÃÆ'¤ldegalerie in Berlin, the GemÃÆ'¤ldegalerie Alte Meister in Dresden, the Louvre, the Nationalmuseum, Stockholm, and the Schloss WilhelmshÃÆ'¶he in Kassel. Royal Castle in Warsaw features two paintings by Rembrandt.
The famous collection of Rembrandt paintings in the United States is housed in the Metropolitan Art Museum and Frick Collection in New York City, National Art Gallery in Washington, DC, the Fine Arts Museum in Boston, and J. Paul Getty Museum in Los Angeles.
Source of the article : Wikipedia
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