REMBRANDT Harmenszoon van Rijn
REMBRANDT Harmenszoon van Rijn's Oil Paintings
REMBRANDT Museum
July 15, 1606 – October 4, 1669. Dutch painter.

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REMBRANDT Harmenszoon van Rijn
Young Man With a Moustache

ID: 34597

REMBRANDT Harmenszoon van Rijn Young Man With a Moustache
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REMBRANDT Harmenszoon van Rijn Young Man With a Moustache


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REMBRANDT Harmenszoon van Rijn

Born 1606, Died 1669.One of the great Dutch painters and printmakers of the 17th century, Rembrandt van Rijn is best known for his expressive use of light and shadow (also called chiaroscuro) in his many portraits. Raised in Leiden, he studied with Pieter Lastman (1583-1633) in Amsterdam, then returned to Leiden around 1625 and set up shop as a teacher and portrait artist. Sometime between 1630 and 1632 Rembrandt relocated to Amsterdam, where he spent the rest of his career. Though he had his detractors (some of whom considered him coarse and "low born"), Rembrandt was successful and famous during his lifetime, though he fell on financial hard times in his later years. He was a master printer and produced hundreds of group portraits and historical paintings, including The Anatomy Lesson of Dr. Tulp (1632), The Military Company of Captain Frans Banning Cocq (1642) and Aristotle with a Bust of Homer (1653). His portraits -- including a lifelong trail of intriguing and rather frank self-portraits -- reveal his interest in psychological study and continue to be admired as landmarks in Western art. The Military Company of Captain Frans Banning Cocq is also known as "The Night Watch" because it was thought the painting depicted a nighttime scene. When the painting was cleaned in the 1940s it became obvious that it depicted a daytime scene... He married Saskia van Ulenburgh (also Uylenburgh) in 1634.   Related Paintings of REMBRANDT Harmenszoon van Rijn :. | A Young Painter in His Studio | Junge Frau im Bett | The Anatomy Lecture of Dr. Nicolaes Tulp SE | The Parable of the Laborers in the Vineard | Self-portrait. |
Related Artists:
Johann Gottfried Schadow
1764-1850 Berlin, He was a German sculptor. He was born in Berlin, where his father was a poor tailor. Friederike von Preuben.His first teacher was an inferior sculptor, Tassaert, patronized by Frederick the Great; the master offered his daughter in marriage, but the pupil preferred to elope with a girl to Vienna, and the father-in-law not only condoned the offence but furnished money wherewith to visit Italy. Three years' study in Rome formed his style, and in 1788 he returned to Berlin to succeed Tassaert as sculptor to the court and secretary to the Academy. Over half a century he produced upwards of two hundred works, varied in style as in subjects.
PANTOJA DE LA CRUZ, Juan
Spanish Painter, 1553-1608 Spanish painter. He must have moved to Madrid when he was very young, receiving his training in the workshop of Alonso S?nchez Coello, painter to Philip II. On numerous occasions he declared himself to be a follower of S?nchez Coello, in whose workshop he was an oficial, and he probably collaborated to a considerable degree on many of his master's mature works. There are very few signed works by Pantoja from before the death of S?nchez Coello, although some anonymous paintings from the workshop are probably by him. In Madrid in 1587 Pantoja married a woman of some means, and by the following year, when S?nchez Coello died, he was an independent painter, aspiring to his master's position. Documentation exists from 1590 concerning portraits by Pantoja of members of the royal family including one of Don Felipe, the future Philip III (1593; Vienna, Ksthist. Mus.). On Philip's accession to the throne in 1598 Pantoja painted another portrait of him (Vienna, Ksthist. Mus.) and became the official portrait painter for the court and for the nobility of Madrid; there is detailed documentation for his work from this time. He painted clothing and jewels with precision, in minute detail and with a dry objectivity in the Flemish tradition. His treatment of faces, however, clearly reveals his study of Venetian portraiture, and in particular that of Titian, as well as sharp psychological penetration. In his portraits of royal children he maintained, albeit with a certain rigidity, the charm that S?nchez Coello in his paintings had given these infant figures tightly swathed in official robes
Paul-Louis Bouchard
French, 1853-1937






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