Rembrandt van Rijn

Rembrandt
Rijn, Rembrandt Harmensz. van

Dutch, 1606 - 1669

Explore Selected Works

See all 453 works of art
Johann Andreas Benjamin Nothnagel, Rembrandt van Rijn, Self-Portrait, 1771, etching with drypoint on laid paper, Ailsa Mellon Bruce Fund, 2013.87.14

Self-Portrait

Johann Andreas Benjamin Nothnagel, Rembrandt van Rijn · 1771 · etching with drypoint on laid paper ·  Accession ID  2013.87.14

Rembrandt van Rijn, Jan Antonides van der Linden, 1665, etching, drypoint and burin, Rosenwald Collection, 1944.2.63

Jan Antonides van der Linden

Rembrandt van Rijn · 1665 · etching, drypoint and burin ·  Accession ID  1944.2.63

Shown from the thighs up, a pale-skinned woman looks down and off to our left as she holds the pointed end of a dagger toward her chest in this vertical painting. Her lips are slightly parted, and her arms are spread wide as holds the hilt of the dagger in her right hand, to our left. Her hooded, dark brown eyes are rimmed with red. Her head tilts to our left, her pale lips parted. There are gray shadows at the corners of her mouth and along her jawline. Her brown hair is pulled back under a cloth covering painted with white flecks to suggest shiny thread or possibly jewels. She wears a long, tawny-brown gown with diaphanous sleeves. The bodice is laced up over a cream-white undergarment with a deep V neck and voluminous sleeves with unfastened cuffs near her wrists. She wears a large, teardrop-shaped pearl in the ear we can see and two necklaces. One necklace is a strand of pearls, and the other is a gold and possibly jeweled pendant with another teardrop pearl hanging from a cord. A gold belt drapes around her hips over a narrow waist. She is warmly lit from the upper left and set against an earth-brown background. The artist signed and dated the center left, “Rembrandt 1664.”
Rembrandt van Rijn, Lucretia, 1664, oil on canvas, Andrew W. Mellon Collection, 1937.1.76

Lucretia

Rembrandt van Rijn · 1664 · oil on canvas ·  Accession ID  1937.1.76

Shown from about the knees up, a man with peachy skin, wearing a voluminous black cloak and a tall, brimmed hat, looks directly at us in this vertical portrait painting. His body is angled to our left and he turns his face to look at us with brown eyes. He has a wispy, brown mustache over his pale pink lips, which are closed. He has a slight double chin and his reddish-brown hair falls to his shoulders. His wide, brimmed hat has a tall crown, which tapers a bit near the top. His black cloak falls over his arms and body, and has a wide, flat, white collar. Two white tassels hang below the split down the front of the collar. His left hand, to our right, is braced against the arm of a chair, and he rests his hand around the wooden end of the chair's arm. The wall behind him is brick-red with a coffee-brown rectangle to our left. Two vertical, fawn-brown stripes run down the red wall to our right, behind the man. Brushstrokes are visible in some areas, as in the man’s face, and a network of cracks runs across the surface of the canvas.
Rembrandt van Rijn, Portrait of a Man in a Tall Hat, c. 1663, oil on canvas, Widener Collection, 1942.9.69

Portrait of a Man in a Tall Hat

Rembrandt van Rijn · c. 1663 · oil on canvas ·  Accession ID  1942.9.69

In a space almost entirely shrouded in shadow, light falls across a bearded man kneeling in front of a woman cradling an infant, as about a dozen people to our left look on in this horizontal painting. The people all appear to have light skin, though some are deep in shadow. The scene is painted with dabs and soft strokes of peanut and coffee brown, golden yellow, ivory, smoke gray, and muted terracotta red, so many of the details are indistinct. At the bottom center of the painting, the man, woman, and baby are small in scale, reaching less than halfway up the composition. The kneeling man wears a long, pale yellow robe that pools around his bent legs. Facing our right in profile, he has a fringe of gray hair around his balding head and a gray beard. He reaches out toward the baby resting along the woman's lap. The man holds an instrument like a stylus at the baby’s groin, and the child’s legs are bare. The infant is wrapped in a white cloth over his head and torso, and gold-colored fabric drapes over his head and shoulders. With tiny, rounded features, the baby looks toward the man at his feet. The woman wears a long-sleeved, muted red dress with white fabric across her chest. She looks down, and her head is wrapped with a pale gray turban that falls to either side of her face and covers her hair. At the front of the group of men and women looking on, to our left, a bearded man wearing a brown turban, a waist-length dark gray cape, and a lighter gray robe writes in an open book slung over his forearm. Several people, most also wearing turbans in silver gray, ruby red, or terracotta brown look over the man’s shoulder. A few more people look down at the scene from the shadows above, near the upper left corner of the painting. Behind the woman and child, a ladder leans against a platform, perhaps a loft, and draped fabric creates a canopy over the woman. A jumble of objects there merge with the deep shadows.
Rembrandt van Rijn, The Circumcision, 1661, oil on canvas, Widener Collection, 1942.9.60

The Circumcision

Rembrandt van Rijn · 1661 · oil on canvas ·  Accession ID  1942.9.60

Rembrandt van Rijn, Woman with the Arrow, 1661, etching, drypoint and burin on laid paper, Rosenwald Collection, 1944.2.62

Woman with the Arrow

Rembrandt van Rijn · 1661 · etching, drypoint and burin on laid paper ·  Accession ID  1944.2.62

Shown from the hips up, a young man with pale skin and wearing black clothing sits with his body angled to our right as he turns to look at us in this vertical portrait painting. He looks out with green eyes under hooded lids. Light falls across his face from the upper left so his bumped nose casts a shadow on his high cheekbone. He has a wispy mustache over full, pink lips, which are slightly parted. His hair falls to his shoulders in auburn-brown curls, framing his slender face. Two silvery tassels hang on cords from a tall, wide, flat, bright white collar, which contrasts with the velvety black of his voluminous, long-sleeved jacket. His left hand, farther from us, rests on his knee and the other hand is curled so the back of his knuckles press against his right hip, closer to us. A patch of crimson red near that hand could be a pillow on his chair. His hat rests, presumably on a table, just beyond his legs. The hat has a tall, tapering, conical crown with a flat top. The shadowy wall behind him is mottled with slate gray and caramel brown, with a slightly darker panel to suggest a shallow niche.
Rembrandt van Rijn, A Young Man Seated at a Table (possibly Govaert Flinck), c. 1660, oil on canvas, Andrew W. Mellon Collection, 1937.1.77

A Young Man Seated at a Table (possibly Govaert Flinck)

Rembrandt van Rijn · c. 1660 · oil on canvas ·  Accession ID  1937.1.77

Shown from the waist up, an older man with pale, peachy skin looks out at us with deep-set, gray eyes under a furrowed brow, in front of a sable-brown background in this vertical portrait painting. His body is angled to our left, and his face turns to us. He has a faintly pink, bulbous nose, and his slightly sunken cheeks are shaded with gray. His peach-colored lips are framed with a wispy, gray mustache and goatee. Bronze-orange lines are incised within the battleship gray of his hair to create soft curls under his brown beret, which has gold trim around the base. The dark collar of his fawn-brown coat is turned up so his neck is covered. He is lit from the upper left, so his body and the right side of the painting are deeply shadowed. On our left, the canvas is painted with blended strokes of tawny and dark brown. His dark coat blends into the background, and his folded hands are in shadow in the lower left corner. The brushstrokes are visible in some areas, especially in the man’s face. The painting is signed and dated next to his shoulder, to our left, “Rembrandt f. 1659.”
Rembrandt van Rijn, Self-Portrait, 1659, oil on canvas, Andrew W. Mellon Collection, 1937.1.72

Self-Portrait

Rembrandt van Rijn · 1659 · oil on canvas ·  Accession ID  1937.1.72

Rembrandt van Rijn, Peter and John Healing the Cripple at the Gate of the Temple, 1659, etching, drypoint and burin, Rosenwald Collection, 1943.3.7151

Peter and John Healing the Cripple at the Gate of the Temple

Rembrandt van Rijn · 1659 · etching, drypoint and burin ·  Accession ID  1943.3.7151

Rembrandt van Rijn, Peter and John Healing the Cripple at the Gate of the Temple, 1659, etching, drypoint and burin, Rosenwald Collection, 1943.3.7152

Peter and John Healing the Cripple at the Gate of the Temple

Rembrandt van Rijn · 1659 · etching, drypoint and burin ·  Accession ID  1943.3.7152

Bibliography

1641

  • Orlers, Jan Jansz. Beschrijvinge der Stadt Leyden. 2nd. ed. Leiden, 1641: 375.

1753

  • Houbraken, Arnold. De Groote Schouburgh der Nederlantsche Konstschilders en Schilderessen. 3 vols. in 1. The Hague, 1753 (Reprint: Amsterdam, 1976): 1:254-273.

1829

  • Smith, John. A Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters. 9 vols. London, 1829-1842: 7(1836).

1890

  • Imperial Hermitage Museum. Album de l'Ermitage Imperial; reproductions photographiques publiées avec l'autorisation de l'Empereur par Charles Röttger. 6 pts. in 2 vols. Saint Petersburg, 1890s.

1897

  • Bode, Wilhelm von, and Cornelis Hofstede de Groot. The Complete Work of Rembrandt. 8 vols. Translated by Florence Simmonds. Paris, 1897-1906.

1906

  • Hofstede de Groot, C. Die Urkunden über Rembrandt (1575-1721). Quellenstudien zur holländischen Kunstgeschichte 3. The Hague, 1906.

  • Rosenberg, Adolf. Rembrandt: Des Meisters Gemälde. Klassiker der Kunst in Gesamtausgaben 2. 2nd ed. Stuttgart, 1906.

1907

  • Hofstede de Groot, Cornelis. A Catalogue Raisonné of the Works of the Most Eminent Dutch Painters of the Seventeenth Century. 8 vols. Translated by Edward G. Hawke. London, 1907-1927: 6(1916).

1935

  • Bredius, Abraham. Rembrandt Gemälde, 630 Abbildungen. Vienna, 1935.

  • Bredius, Abraham. Rembrandt Schilderijen, 630 Afbeeldingen. Utrecht, 1935.

1948

  • Rosenberg, Jakob. Rembrandt. 2 vols. Cambridge, Massachusetts,1948.

1953

  • Slive, Seymour. Rembrandt and his Critics 1630-1730. The Hague, 1953.

1960

  • Bauch, Kurt. Der Frühe Rembrandt und seine Zeit. Berlin, 1960.

1964

  • Rosenberg, Jakob. Rembrandt: Life and Work. Revised ed. Greenwich, CT, 1964.

1966

  • Bauch, Kurt. Rembrandt Gemälde. Berlin, 1966.

  • Clark, Kenneth. Rembrandt and the Italian Renaissance. New York, 1966.

1968

  • Gerson, Horst. Rembrandt Paintings. Amsterdam, 1968.

1969

  • Bredius, Abraham. Rembrandt: The Complete Edition of the Paintings. Revised by Horst Gerson. 3rd ed. London, 1969.

  • Haak, Bob. Rembrandt: His Life, His Work, His Time. Translated by Elizabeth Willems-Treeman. New York, 1969.

1979

  • Strauss, Walter L., and M. van der Meulen. The Rembrandt Documents. New York, 1979.

1985

  • Schwartz, Gary. Rembrandt: His Life, His Paintings. New York, 1985:

1986

  • Stichting Foundation Rembrandt Research Project. A Corpus of Rembrandt Paintings. Vol. 2: 1631-1634. Edited by Josua Bruyn et al. Dordrecht, Boston, and Lancaster, 1986.

  • Tümpel, Christian. Rembrandt. Translated by Jacques and Jean Duvernet, Léon Karlson, and Patrick Grilli. Paris, 1986.

1989

  • Stichting Foundation Rembrandt Research Project. A Corpus of Rembrandt Paintings. Vol. 3: 1635-1642. Edited by Josua Bruyn, et al. Dordrecht, Boston, and London, 1989.

1990

  • Chapman, H. Perry. Rembrandt's Self-Portraits: A Study in Seventeenth-Century Identity. Princeton, 1990.

1991

  • Brown, Christopher, Jan Kelch, and Pieter van Thiel. Rembrandt: The Master & His Workshop: Paintings. Exh. cat. Gemäldegalerie SMPK at the Altes Museum, Berlin; Rijksmuseum, Amsterdam; The National Gallery, London, 1991-1992.

1995

  • Wheelock, Arthur K., Jr. Dutch Paintings of the Seventeenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1995: 204-210.

  • A Collection of Etchings by Rembrandt Harmensz. van Rijn formed by Joseph R. Ritman. Sotheby's and Artemis, 1995.

1997

  • Blankert, Albert. Rembrandt: A Genius and his Impact. Exh. cat. National Gallery of Victoria, Melbourne; National Gallery of Australia, Canberra. Zwolle, 1997.

1999

  • Boogert, Bob van den. Rembrandt's Treasures. Exh. cat. Rembrandthuis Museum, Amsterdam. Zwolle, 1999: 153-155.

2005

  • Stichting Foundation Rembrandt Research Project. A Corpus of Rembrandt Paintings. Vol. 4: The Self-Portraits. Edited by Ernst van de Wetering. Dordrecht, 2005.

2006

  • Crenshaw, Paul. Rembrandt's bankruptcy: the artist, his patrons, and the art market in seventeenth-century Netherlands. Cambridge and New York, 2006.

2014

  • Bikker, Jonathan, and Gregor J.M. Weber. Rembrandt: The Late Works. Exh. cat. National Gallery, London; Rijksmuseum, Amsterdam. London, 2014.