Rembrandt short biography and creativity. Rembrandt Harmenszoon van Rijn - Biography and Paintings

In statbe "Rembrandt: a short biography and creativity, video" - about the life of the Dutch artist, the great master of chiaroscuro, the largest representative of the Golden Age of Dutch painting.

Childhood and youth

Rembrandt Harmenszoon van Rijn was born in the middle of the summer of 1606 in Leiden, the son of a rather wealthy miller. The surname "van Rijn" means "from the river Rhine" and it was there that the mills that belonged to the family were located.

Mother Cornelia, was the daughter of a baker. Father and mother were peers and equals in social status. Perhaps this served to ensure that peace and tranquility reigned in the family. Although it was impossible to call a quiet house, because a dozen tomboys were growing up here. The ninth was Rembrandt.

Parents have worked hard all their lives to raise their children. His father died at 62, and his mother survived him by ten years. Three of the artist's brothers became millers, and Rembrandt is the only one who received an education.

The 13-year-old teenager successfully passed the exams at Leiden University. In connection with his studies, he received a deferment from conscription into the army. At the same time, he begins to draw.

Self-portrait of Rembrandt at 23

Johannes Orpers - the mayor of Leiden, in one of the books, which was published in 1641, devoted several lines to the life of Rembrandt. It was a short biography about the artist. From which we learn that at the beginning Rembrandt was in training with Jacob van Swanenbürch for about three years.

And in 1624 he went to Amsterdam for six months - to the painter of historical paintings P. Lastman. In 1625 the painter returned to his homeland and found a good friend in the person of Jan Lievens. For several years they created their creations together, and sometimes their paintings were so similar that it was almost impossible to identify the author.

Amsterdam

In January 1632 Rembrandt moved to Amsterdam. In three decades, the population of this city has tripled and reached the figure of 150,000. The painter reasoned that his career in this big city would go up much faster.

Previously, he painted small works on religious themes and portraits. In Amsterdam, he worked on large commissions and soon achieved popularity. For about two years, Rembrandt lived with Hendrick van Uylenbürch, who sold works of art. He became friends with him immediately after his arrival.

Saskia

In the summer of 1634 the artist married Eilenbürch's cousin, Saskia. She was an orphan, but had a good inheritance. Rembrandt at this time also managed to become a leading painter.

The young were passionately in love. For several months they lived in the Eilenbürch house, and then they bought a new magnificent house for their family.

"Saskia as Flora" - painting by Rembrandt, 1634

For 5 years, Saskia gave birth to three children, but they died in infancy. In 1641 she gave birth to her 4th child. It was a boy whose parents gave the name Titus. The son survived, but the doctors could not save his mother, 29-year-old Saskia.

At this time, Rembrandt was working on the completion of the famous painting "The Night Watch". But his life was sad. He was immensely saddened by the sudden death of his beloved wife and could not work for a long time, all the time returning his thoughts to the tragedy.

"The night Watch". 1642. Oil on canvas.

He had many orders for ceremonial portraits. But constantly postponing work on them, he quickly lost customers. They preferred not to wait for Rembrandt to finally pick up his magic brush, but gave orders to other artists.

"Danae" (1636-1647). Rembrandt worked on the painting for 11 years!

Hendrikje Stoffels

The artist worked with great inspiration on canvases, mainly based on biblical subjects. In difficult moments, Rembrandt often turned to religion, but he also had to think about his son, who was still very small.

He was forced to hire a nanny, Gertje Dirks. Gertier accused the artist of breaking his promise to marry her. This incident was settled - the artist had to fork out. There were many court hearings. As a result, she was found wrong and sentenced to 5 years.

Hendrikje Stoffels (1655)

Three years later, Rembrandt became friends with his young maid Hendrikje Stoffels. Hendrikje gave birth to a son, who died in infancy, and a daughter, Cornelia. Apparently, the daughter was named after the master's mother.

The financial situation of the painter was deplorable. He had practically no high-paying commissions for formal portraits, but he spent huge sums on the collection. There were Renaissance paintings, weapons, busts, ancient costumes, oriental curiosities…

last years of life

In 1652 - 1654. Holland was at war with England, which completely depleted the state treasury. Trade almost ceased, which immediately affected the cost of works of art. Rembrandt sold part of the collection, but this did not help.

In 1656, Rembrandt could no longer pay all the accumulated debts and almost ended up in prison. He managed to avoid this with the help of the so-called "debt transfer" operation. The artist proved that debts had accumulated for an objective reason.

The artist sold the property and was allowed to stay in the house he had previously owned until 1660. After that, Rembrandt rented inexpensive apartments in some poor city block.

Portrait of Titus, son of Rembrandt, 1657.

Titus has already grown up and he, together with his stepmother, created a company selling works of art. But Rembrandt was never able to pay all his debts, although everyone in the city respected him. In 1661 - 1662. Rembrandt was offered two high-paying orders: the painting "The Conspiracy of Julius Civilis" and the portrait of "Sindica" for the guild of cloth makers.

The last years of the painter were sad. In 1663 Hendrikje died, followed by Titus and his daughter-in-law. On October 4, 1669, Rembrandt Harmenszoon van Rijn, one of the greatest painters, left this world. He was 63 years old.

In this video, additional interesting information "Rembrandt: a short biography"

For you - "Rembrandt" ↓ film directed by Alexander Korda. Released on screens in 1936.

Dutch painter, engraver, great master of chiaroscuro

Rembrandt

short biography

(Dutch Rembrandt Harmenszoon van Rijn [ˈrɛmbrɑnt ˈɦɑrmə(n)soːn vɑn ˈrɛin], 1606-1669) - Dutch artist, engraver, great master of chiaroscuro, the largest representative of the golden age of Dutch painting. He managed to embody in his works the whole range of human experiences with such emotional richness, which fine art did not know before him. Rembrandt's works, extremely diverse in genre, open to the viewer the timeless spiritual world of human experiences and feelings.

Years of apprenticeship

Rembrandt Harmenszoon ("son of Harmen") van Rijn was born on July 15, 1606 (according to some sources, in 1607) in a large family of a wealthy mill owner Harmen Gerritszoon van Rijn in Leiden. The mother's family, even after the Dutch Revolution, remained faithful to the Catholic faith.

"Allegory of Music" of 1626 - an example of Lastman's influence on the young Rembrandt

In Leiden, Rembrandt attended the Latin school at the university, but showed the greatest interest in painting. At the age of 13, he was sent to study fine art with the Leiden historical painter Jacob van Swanenbürch, a Catholic by faith. Researchers have not been able to find Rembrandt's works related to this period, so the question of Swanenbürch's influence on the formation of Rembrandt's creative manner remains open: too little is known today about this Leiden artist.

In 1623, Rembrandt studied in Amsterdam with Pieter Lastman, who had trained in Italy and specialized in historical, mythological and biblical subjects. Returning to Leiden in 1627, Rembrandt, together with his friend Jan Lievens, opened his own workshop and began to recruit students. Within a few years he gained wide popularity.

Influence of Lastman and the Caravagists

Lastman's passion for variegation and detail in execution had a huge impact on the young artist. It clearly comes through in his first surviving works - "The Stoning of St. Stephen" (1629), "A Scene from Ancient History" (1626) and "The Baptism of a Eunuch" (1626). In comparison with his mature works, they are unusually colorful, the artist strives to carefully write out every detail of the material world, as accurately as possible to convey the exotic setting of the biblical story. Almost all the characters appear before the viewer dressed up in bizarre oriental outfits, shining with jewels, which creates an atmosphere of pomp, splendor, festivity (“Allegory of Music”, 1626; “David before Saul”, 1627).

The final works of the period - "Tobit and Anna", "Balaam and the donkey" - reflect not only the rich imagination of the artist, but also his desire to convey the dramatic experiences of his heroes as expressively as possible. Like other masters of the Baroque, he begins to comprehend the meaning of sharply sculpted chiaroscuro for conveying emotions. His teachers in relation to work with light were the Utrecht caravagists, but he was even more guided by the works of Adam Elsheimer, a German who worked in Italy. The most caravaggist paintings by Rembrandt are “The Parable of the Foolish Rich Man” (1627), “Simeon and Anna in the Temple” (1628), “Christ at Emmaus” (1629).

Adjacent to this group is the painting The Artist in His Studio (1628; perhaps this is a self-portrait), in which the artist captured himself in the studio at the moment of contemplating his own creation. The canvas that is being worked on is brought to the forefront of the picture; in comparison with him, the author himself seems a dwarf.

Workshop in Leiden

One of the unresolved issues of Rembrandt's creative biography is his artistic overlap with Lievens. Working side by side, they took on the same subject more than once, such as Samson and Delilah (1628/1629) or The Resurrection of Lazarus (1631). In part, both were drawn to Rubens, who was then known as the best artist in all of Europe, sometimes Rembrandt borrowed the artistic finds of Lievens, sometimes it was exactly the opposite. For this reason, the distinction between the works of Rembrandt and Lievens of 1628-1632 presents certain difficulties for art historians. Among his other famous works is "Valaam's donkey" (1626).

In 1629, the artist was noticed by the secretary of the Prince of Orange, Constantine Huygens (father of Christian Huygens), a well-known poet and patron of the arts at that time. In one of the letters of that time, Huygens praises Lievens and Rembrandt as promising young artists, and he compares Rembrandt's Judas Returning the Thirty Pieces of Silver with the best works of Italy and even antiquity. It was Huygens who helped Rembrandt contact wealthy clients and commissioned him several religious paintings for the Prince of Orange.

Developing your own style

In 1631, Rembrandt moved to Amsterdam, where the dynamism inherent in the aesthetics of the Baroque and the external pathos of the canvases found him many wealthy admirers, who, like Huygens, saw in him a new Rubens. A year later, Lievens closed the Leiden workshop and left for England, where he fell under the influence of van Dyck, then, until returning to his homeland in 1644, he worked in Antwerp.

The period of moving to Amsterdam was marked in the creative biography of Rembrandt by the creation of many studies of male and female heads, in which he explores the originality of each model, experiments with moving facial expressions. These small works, later mistaken for images of the artist's father and mother, became a real school for Rembrandt as a portrait painter. It was portraiture that allowed the artist at that time to attract orders from wealthy Amsterdam burghers and thereby achieve commercial success.

In the early Amsterdam years, a prominent place in the work of Rembrandt is occupied by the genre of self-portrait; depicting himself in fantastic attire and intricate poses, he outlines new ways for the development of his art. Sometimes the elderly characters in sketches, dressed up by the artist in luxurious oriental costumes, are transformed by his imagination into biblical characters; such is the thoughtful Jeremiah Lamenting the Destruction of Jerusalem (1630). For the stadtholder Frederick Heinrich of Orange, he creates paired canvases "Exaltation of the Cross" (1633) and "Descent from the Cross" (1632/1633), inspired by Rubens' multi-figured engravings.

Success in Amsterdam

The fame of Rembrandt as an outstanding master spread around Amsterdam after he completed the group portrait "The Anatomy Lesson of Dr. Tulp" (1632), in which attentive surgeons were not lined up in parallel rows of heads facing the viewer, as was customary in portraiture of that time, but strictly distributed in a pyramidal composition, which made it possible to psychologically unite all the actors into a single group. The richness of facial expressions of each face and the dramatic use of chiaroscuro sums up years of experimentation, testifying to the onset of the artist's creative maturity.

The first years in Amsterdam were the happiest in Rembrandt's life. The marriage with Saskia van Uilenbürch, which took place in 1634, opens the doors of the mansions of wealthy burghers to the artist, to which her father, the burgomaster of Leeuwarden, belonged. Orders pour in to him one after another; at least fifty portraits date from the first years of Rembrandt's stay in Amsterdam. Conservative Mennonites especially favored him. A lot of noise was made by his double portrait of the Mennonite preacher Cornelis Anslo, who was sung in verse by Vondel himself.

Rembrandt's material well-being allowed him to acquire his own mansion, which he filled with art objects he bought from antiquarians. These were not only paintings by Italian masters and engravings, but also antique sculpture, weapons, and musical instruments. To study the great predecessors, he did not need to leave Amsterdam, because in the city then one could see such masterpieces as the Titian “Portrait of Gerolamo (?) Barbarigo” and the portrait of Baltazar Castiglione by Raphael.

Among the most significant portraits of those years are images of Saskia - sometimes at home, lying in bed, sometimes in luxurious robes (Kassel portrait, 1634) and theatrical guises ("Saskia in the form of Flora", 1634). In 1641 their son Titus was born; three more children died in infancy. The excess of the artist's vitality during the years of marriage with Saskia is expressed with the greatest bravura in the painting The Prodigal Son in a Tavern (1635). The iconography of this illustrious work goes back to the moralistic depictions of the prodigal son's debauchery from the biblical parable.

Saskia died a year after the birth of her son, and Rembrandt's life began a period of continuous personal loss.

Dialogue with Italians

Rembrandt's creative dialogue with great Italian artists is indicated not only by portrait works, but also by multi-figure paintings on mythological and biblical themes, reflecting the artist's concern for external effects and in this respect consonant with the works of the masters of Baroque Italy.

The famous "Danae" (1636/1643) is all radiant with light. "The Abduction of Europa" (1632) and "The Abduction of Ganymede" (1635) - also common subjects of Italian painting - are completely transformed by Rembrandt by introducing, in the first case, the Dutch landscape, in the second - an ironic interpretation of the legendary handsome young man as a baby with a distorted grimace of horror face.

As in his years with Lastman, Rembrandt's creative imagination calls for biblical subjects with relatively undeveloped iconography. In The Feast of Belshazzar (1635), genuine horror is written on the faces of the characters in the picture, the impression of anxiety is enhanced by the dramatic lighting of the scene. No less dynamic is the "Sacrifice of Abraham" (1635) - a knife frozen in the air gives the scene the immediacy of a photographic image. A later version of this composition from Munich is an example of how well Rembrandt's paintings were copied by his apprentices.

Rembrandt also developed the effects of light and shadow in etchings (“Christ before Pilate”, 1636), which were often preceded by numerous preparatory drawings. Throughout his subsequent life, etchings brought Rembrandt no less income than painting itself. As an etcher, he was particularly noted for his use of drypoint, dynamic strokes, and puffing techniques.

"The night Watch"

In 1642, Rembrandt received a commission for one of six group portraits of the Amsterdam musketeers for the new building of the Shooting Society; two other commissions went to his students. When creating this four-meter painting - the largest of his works - Rembrandt broke with the canons of Dutch portraiture, for two centuries he predicted the artistic finds of the 19th century - the era of realism and impressionism. The models were depicted very directly, in motion, which did not please the customers at all, many of which were pushed into the background:

Rembrandt’s monumental creation, which captures the sudden march of a rifle company led by its commanders, is decided by him as a mass scene, permeated with the movement of a crowd of specific and nameless characters and built on a flickering contrast of brightly lit color spots and shaded areas. The randomness of the situation depicted on the canvas, which creates the impression of discord and tension, is at the same time imbued with solemnity and heroic enthusiasm, approaching in its sound with the historical composition.

Such a bold combination of a group portrait with war memories of the Dutch Revolution scared away some customers. Rembrandt's biographers argue about the extent to which the failure of The Night Watch (it was precisely such an erroneous name that the painting subsequently received, hidden under darkened varnish and soot until the restoration of the 1940s) influenced the artist's further career. In all likelihood, the widespread legend about the failure of this work has no serious basis. The conspiracy version of the Night Watch story is featured in British director Peter Greenaway's The Night Watch (2007) and Rembrandt. I accuse!" (2008).

Whatever the reasons for the cooling of the Amsterdam public towards Rembrandt, the result of a change in tastes was the fading of his fame and gradual impoverishment. After The Night Watch, only a few students remain in Rembrandt's studio. His former apprentices, having borrowed and developed any one feature of the early Rembrandt, become more successful and sought-after artists than their teacher. Especially typical in this regard is Govert Flinck, who perfectly mastered the external bravura of the dynamic Rembrandt paintings of the 1630s. Leiden Gerard Dou, one of the first students of Rembrandt, remained under the influence of Lastman's aesthetics of paintings like the Allegory of Music in 1626 all his life. Fabricius, who worked in the workshop around 1640, willingly experimented with perspective and developed bright backgrounds, which brought him outstanding success in Delft.

The fact that in the course of the 1640s the customers turned away from Rembrandt and the students left was explained not so much by the ambiguous assessment of the Night Watch, but by the general turn of the pictorial fashion towards scrupulous detailing, to which Rembrandt himself was most inclined in his early years. The logic of creative development led the artist in the opposite direction. Over the years, he began to prefer bold brush strokes and sharp contrasts of light and shadow, hiding almost all background details.

Transition period

There is little information about Rembrandt's private life in the 1640s. Of the disciples of this period, only Nicholas Mas from Dordrecht is known. Apparently, the artist continued to live in grand style, as before. The family of the late Saskia expressed concern about how he disposed of her dowry. Titus' nanny, Gertje Dirks, sued him for breaking his promise to marry; in order to settle this incident, the artist had to fork out.

In the late 1640s, Rembrandt became friends with his young servant Hendrickje Stoffels, whose image flashes in many portrait works of this period: Flora (1654), Bathing Woman (1654), Hendrickje at the Window (1655). The parish council condemned Hendrickje for "sinful cohabitation" when, in 1654, her daughter Cornelia was born with the artist. During these years, Rembrandt moves away from topics that have a grandiose national or universal sound. Paintings from this period are few.

Portraits of the Rembrandt family

Self portrait (1640)

Saskia in a red hat (1633/1634)

Titus in a red beret (1658)

Gert Dirks? (1644)

Hendrikje Stoffels (1655)

The artist worked for a long time on engraved portraits of burgomaster Jan Six (1647) and other influential burghers. All the techniques and techniques of engraving known to him were used in the manufacture of the carefully crafted etching “Christ Healing the Sick”, better known as the “Leaf of a Hundred Guilders”, - it was for such a huge price for the 17th century that it was once sold. Over this etching, which strikes with the subtlety of the play of light and shade, he worked for seven years, from 1643 to 1649. In 1661, work continued on the etching "Three Crosses" created in 1653 (not finished).

In the years of hardships, the artist's attention is drawn to landscapes with frowning clouds, heavy winds and other attributes of a romantically agitated nature in the tradition of Rubens and Segers. The "Winter Landscape" of 1646 belongs to the pearls of Rembrandt's realism. However, the pinnacle of Rembrandt's skill as a landscape painter was not so much paintings as drawings and etchings, such as The Mill (1641) and Three Trees (1643). He masters other new genres for himself - still life (with game and skinned carcasses) and equestrian portrait (although, by all accounts, Rembrandt never succeeded in horses).

Scenes of everyday domestic life, such as the two "Holy Families" of 1645 and 1646, receive a poetic interpretation in these years. Together with The Adoration of the Shepherds (1646) and Rest on the Flight into Egypt (1647), they allow us to speak of Rembrandt's tendency to idealize the patriarchal way of family life. These works are warmed by warm feelings of family closeness, love, compassion. Chiaroscuro in them reaches an unprecedented richness of shades. The coloring is especially warm, with a predominance of shimmering reds and golden browns.

Late Rembrandt

In 1653, experiencing financial difficulties, the artist transferred almost all his property to his son Titus, after which he filed for bankruptcy in 1656. After the sale of the house and property in 1657-1658 (an interesting catalog of the Rembrandt art collection has been preserved), the artist moved to the outskirts of Amsterdam, to the Jewish quarter, where he spent the rest of his life. The person closest to him in those years, apparently, remained Titus; it is his images that are most numerous. On some, he appears as a prince from a fairy tale, on others - an angel woven from the sun's rays. The death of Titus in 1668 was one of the last strokes of fate for the artist; he himself was gone a year later.

A distinctive feature of Rembrandt's work of the 1650s is the clarity and monumentality of large-figure compositions. Characteristic in this regard is the work “Aristotle with a bust of Homer”, performed in 1653 for the Sicilian aristocrat Antonio Ruffo and sold in 1961 by his heirs at an auction to the Metropolitan Museum of Art for a record amount of more than two million dollars at that time. Aristotle is immersed in deep thought; the inner light seems to come from his face and from the bust of Homer, on which he laid his hand.

If on the canvases of the 1650s the number of figures never exceeds three, then in the last decade of his life Rembrandt returns to creating multi-figured compositions. In two cases, these were large and prestigious orders. The monumental heroic painting "The Conspiracy of Julius Civilis" (1661) was created for the new Amsterdam City Hall, but for some reason did not satisfy the customers and was not paid for. A fragment of the painting, preserved in Stockholm, strikes with severe realism and unexpected flashes of light colors against the background of the surrounding darkness. The group portrait of Sindiki (1662), despite the naturalness of the poses, the liveliness of facial expressions and the coherence of the compositional solution, is a step back compared to the uncompromising naturalism of The Night Watch. But all the requirements of customers were met.

The last two decades of Rembrandt's life were the pinnacle of his skill as a portrait painter. Models are not only the artist's comrades (Nicholas Breining, 1652; Gerard de Leresse, 1665; Jeremias de Dekker, 1666), but also unknown soldiers, old men and old women - all those who, like the author, went through years of painful trials. Their faces and hands are illuminated with an inner spiritual light. The ceremonial portrait of Jan Six (1654), pulling on a glove, is distinguished by a rare harmony of color, the breadth of pasty strokes. The internal evolution of the artist is conveyed by a series of self-portraits, revealing to the viewer the world of his innermost experiences. The series of self-portraits is joined by a string of images of the wise apostles; often in the face of the apostle one can guess the features of the artist himself.

Rembrandt old men

Last works

The artistic genius of Rembrandt developed in ascending order. His latest works represent a unique phenomenon in the history of painting. The secret of their sticky colors, as if flowing down the canvas, has not yet been unraveled. The figures are monumental and deliberately close to the front plane of the canvas. The artist dwells on rare biblical subjects, the search for correspondences to which in the Bible is still occupied by researchers of his work. He is attracted by such moments of life when human experiences are manifested with the greatest force.

Deep dramatic tension is characteristic of such works as "Artaxerxes, Haman and Esther" (1660) and "The Denial of the Apostle Peter" (1660). According to the technique of execution, they are consonant with the latest paintings, united by a family theme: the unfinished Return of the Prodigal Son (1666/1669), a family portrait from Braunschweig (1668/1669), etc. "Jewish Bride" (1665). The dating of all these works is conditional, the circumstances of their creation are surrounded by mystery. Researchers find it difficult to find words to describe their thick “colors iridescent and smoldering in a golden haze”, applied to the canvas with a spatula or palette knife:

There is no active action, static, outwardly restrained characters, sometimes shrouded in the radiance of brocade clothes, protrude from the shaded space surrounding them. The dominant dark golden-brown tones subdue all colors, among which a special role belongs to shades of red burning from the inside, like smoldering coals. Dense relief strokes, permeated with the movement of a luminous mass of paint, are combined in shaded areas with transparent glazes written in a thin layer. The texture of the colorful surface of the works of the late Rembrandt seems to be a shimmering jewel. The exciting humanity of his images is marked by the seal of mysterious beauty.

In the Cologne self-portrait of 1662, the author’s features are distorted by a bitter smile, and in the last self-portraits of 1669 (the Uffizi Gallery, the London National Gallery and the Mauritshuis), despite his conspicuous physical weakness, he calmly looks fate in the face. Rembrandt died on October 4, 1669 in Amsterdam. He was buried at the Westerkerk in Amsterdam. In total, during his life, Rembrandt created about 350 paintings, more than 100 drawings and about 300 etchings. The achievements of Rembrandt as a draftsman are not inferior to his achievements in the field of painting; especially appreciated are his later drawings, made with a reed pen.

Attribution issues

Until recently, one of the insoluble problems for the researcher of Rembrandt's work was the huge number of copies and replicas from his canvases, which from time immemorial were held in catalogs under his name. So, for example, there are ten versions of the painting “Judas returns thirty pieces of silver”, which cannot be unambiguously attributed to a particular artist.

In 1968, the Rembrandt research project was launched in Amsterdam, with the aim of compiling a verified register of Rembrandt's works using the latest attribution methods. The final catalog of the project, published in 2014, contains a list of 346 paintings, while at the beginning of the 20th century it was believed that about 800 paintings belonged to Rembrandt. For example, out of 12 paintings exhibited in the Wallace Collection under the name of the great artist, the project first confirmed the Rembrandt authorship of only one, although later their number increased to five. As for the Rembrandt paintings exhibited in Russian museums, in the Pushkin Museum , according to the catalog, there are only three works by Rembrandt, and in the Hermitage - 14.

Students

Gerard Dou 1628-1632
Isaac de Jouderville 1629-1632
Jacob de Wet 1631-1632
Willem de Poorter 1631-1632
Govaert Flinck 1633-1637
Cornelis Brouwer around 1634
Gerbrandt van den Eeckhout 1635-1641
Leendert van Beyeren 1636-1642
Ferdinand Bol 1636-1643
Jan Victors 1636-1640
Jacob van Dorsten 1640-1645
Samuel van Hoogstraeten 1640-1646
Abraham Furnerius 1640-1646
Reynier van Gherwen 1640-1646
Lambert Doomer 1640-1642
Carel Fabritius 1640-1644
Bernhard Keil 1641-1644
Christoph Paudiss 1642-1644
Johann Mayr 1642-1649
Barent Fabritius 1643-1646
Karel van der Pluym 1643-1646
Dirk Santvoort 1647-1648
Nicholas Mas (Nicolaes Maes) 1647-1651
Hendrick Heerschop 1649-1650
Constantijn van Renesse 1649-1653
Willem Drost 1650-1654
Johannes De Jonge Raven 1650-1651
Abraham van Dijck 1650-1651
Pieter de Wies (Pieter de With werkz.) 1650-1651
Heyman Dullaert 1652-1656
Johannes van Glabbeeck 1652-1656
Jacobus Levecq 1652-1655
Titus van Rijn 1654-1657
Johannes Leupenius 1660-1661
Art de Gelder 1661-1668
Gottfried Kneller 1668-1669
Anthonie van Borssom

Posthumous glory

It took mankind two centuries to fully appreciate the significance of Rembrandt's work. Although Giovanni Castiglione and Giovanni Battista Tiepolo were inspired by his etchings, Rembrandt’s courage as a painter and the accuracy of his observations as a draftsman first gained recognition in the 19th century, when the artists of the realistic school of Courbet (and in Russia, the Wanderers) opposed his deeply felt poetry of light and shadow unquestioning clarity and clarity of French academicism.

A hundred years ago, the Imperial Hermitage could boast of the largest collection of Rembrandt paintings, but in the 20th century, part of this collection was sold, some paintings were transferred to the Pushkin Museum, the authorship of others was disputed. Throughout the 20th century, the Dutch were painstakingly buying up Rembrandt's paintings and returning them to their homeland; As a result of these efforts, the largest number of Rembrandt paintings can now be seen in the Amsterdam Rijksmuseum. One of the central squares of Amsterdam, Botermarkt, in 1876 it received its modern name Rembrandt Square (Dutch. Rembrandtplein) in honor of the great artist. In the center of the square is a monument to Rembrandt. Since 1911, a museum has also been operating in the Amsterdam House of the Artist, where mainly etchings are exhibited. In 2009, a crater on the planet Mercury, one of the largest in the solar system, was named after the artist.

The employees of the Rijksmuseum in Amsterdam decided to bring the art of Rembrandt closer to the people. In April 2013, they "revived" the painting "Night Watch", creating a whole performance, and moved its action to the territory of a large shopping center.

On October 31, 2013, a bronze monument to Rembrandt was erected in the city of Yoshkar-Ola (Republic of Mari El) (sculptor - Andrey Kovalchuk).

To the cinema

"Rembrandt" / Rembrandt - dir. Alexander Korda (UK, 1936)
"Rembrandt: Portrait 1669" / Rembrandt fecit 1669 - dir. Jos Stelling (Netherlands, 1977)
"Rembrandt" / Rembrandt - dir. |Charles Matton (Germany, France, Netherlands, 1999)
"Night Watch" / Nightwatching - dir. Peter Greenaway (Great Britain, France, Canada, Germany, Poland, 2007)
"Rembrandt. I accuse!" / Rembrandt's J'accuse - dir. Peter Greenaway (UK, 2008)

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😉 Hello dear readers! The article "Rembrandt: biography, creativity, facts and video" is about the life of the Dutch artist, the great master of chiaroscuro, the largest representative of the Golden Age of Dutch painting.

Biography of Rembrandt

Self-portrait of Rembrandt at 23

Then in 1624 he left for Amsterdam for six months - to the painter of historical paintings P. Lastman. In 1625 the painter returned to his homeland and found a good friend in the person of Jan Lievens. For several years they created their creations together, and sometimes their paintings were so similar that it was almost impossible to identify the author.