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- Herausgeber: Parkstone International
- Sprache: Englisch
- Veröffentlichungsjahr: 2011
Rembrandt
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Seitenzahl: 44
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Author: Klaus Carl
Layout: Baseline Co Ltd
61A-63A Vo Van Tan
4thFloor
District 3, Ho Chi Minh City,
Vietnam.
© Confidential Concepts, worldwide, USA
© Parkstone Press International, New York, USA
All rights reserved
No part of this publication may be reproduced or adapted without the permission of the copyright holder, throughout the world. Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.
Klaus Carl
LIST OF ILLUSTRATIONS
1.Self-Portrait with Lace Collar, c. 1629.
2.The Anatomy Lesson by Dr. Tulp, 1632.
3.The Company of Frans Banning Cocq and Willem Van Ruytenburch also known as The Night Watch, 1642.
4.The Lazarus’ Resurrection, 1630-1631.
5.The Descent from the Cross, 1633.
6.Self-Portrait at the Age of Thirty-Four, 1639-1640.
7.Christ Driving the Money-Changers from the Temple, 1635.
8.Christ Driving the Money-Changers from the Temple, 1626.
9.Portrait of a Scholar, 1631.
10.The Adoration of the Magi, 1632.
11.The Adoration of the Magi, 1632.
12.John the Baptist Preaching, 1634-1635.
13.Portrait of Saskia with a Flower, 1641.
14.Portrait of a Boy.
15.The Portrait of a Young Woman with Flowers in Her Hair, 1634.
16.Young Man with a Lace Collar, 1634.
17.Rembrandt and Saskia, 1636.
18.Flora, 1634.
19.Saskia van Uylenburgh in Arcadian Costume, 1635.
20.The Incredulity of St Thomas, 1634.
21.Christ Revealing Himself to the Emmaüs’ Pilgrims, 1648.
22.The Descent from the Cross, 1634.
23.The Conspiracy of the Batavians under Claudius Civilis, c. 1666.
24.The Deposition, 1633.
25.Abraham’s Sacrifice, c. 1636.
26.Abraham’s Sacrifice, 1635.
27.The Parable of the Labourers in the Vineyard, 1637.
28.Herman Doomer(born about 1595, died 1650), 1640.
29.Portrait of Baertje Martens, c. 1640.
30.Return of the Prodigal Son.
31.David and Jonathan, 1642.
32.Old Woman with Glasses, 1643.
33.The Prophetess Anna (known as Rembrandt’s Mother), 1631.
34.Drawing from Raphael’sPortrait of Baldassare Castiglione.
35.Portrait of an Old Man.
36.Child in a Cradle, c. 1645.
37.The Holy Family, 1645.
38.Danae,1636.
39.The Holy Family also known as The Carpenter’s Family (detail), 1640.
40.Old Man in an Armchair, 1652.
41.Portrait of an Old Lady, 1654.
42.Portrait of an Old Man in Red, 1652-1654.
43.Portrait of an Old Jew, 1654.
44.Old Lady Reading, 1655.
45.Portrait of an Old Lady, 1654.
46.Portrait of an Old Lady, 1654.
47.Portrait of Adriaen van Rijn, 1654.
48.Self-Portrait, 1652.
49.Saskia (?) in Front of a Mirror, c. 1630.
50.Young Lady Trying On Earrings, 1657.
51.Bathsheba at Her Bath, 1654.
52.Hendrickje Stoffels, c. 1652.
53.Christ and the Woman of Samaria, 1658.
54.Christ and the Woman of Samaria, 1659.
55.Haman, Esther and Ahasuerus, 1660.
56.Portrait of a Man, 1661.
57.Aristotle with a Bust of Homer, 1653.
58.The Return of the Prodigal Son, c. 1668.
59.Haman Recognizes His Fate, c. 1665.
60.Portrait of the Poet Jeremiah de Decker, 1666.
61.Sampling Officials of the Drapers’ Guild, 1662.
1.Self-Portrait with Lace Collar, c. 1629.
Oil on canvas, 37.7 x 28.9 cm.
Mauritshuis, The Hague.
In the days when Dutch merchants traded in the Far East and the Antipodes, a miller named Harmen Gerritszoon van Rijn lived in Leyden. He had eyes only for the son who was born on 15 July, 1606, at the start of a century which promised so much and was so auspicious for men of destiny.
The child was later to be known simply as Rembrandt, his first Christian name. The young Rembrandt soon manifested the artistic skills, which his teachers discerned from his earliest years. After studying the humanities in his home town, the young boy who had not yet passed his fourteenth birthday, enrolled at the university claiming to be an accomplished draughtsman.
In 1621, Rembrandt became the pupil of Jacob van Swanenburgh, and completed his studies in the studio of Pieter Lastman, whose paintings of large frescoes of historical scenes instilled in him a love of precision, detail and sumptuous backgrounds of the type in which his master excelled. Rembrandt’
