Rembrandt (1606-1669) A Slaughtered Ox 1655 Oil on panel, 94 x 69 cm Musée du Louvre, Paris Painting of exceptional success in the work of the master, especially since other representations of this type, known under the name of Rembrandt,…
Rembrandt (1606-1669) Self-portrait, bare head 1633 Oil on panel, 60 x 47 cm Musée du Louvre, Paris The gorget, quite common in Rembrandt‘s self-portraits, worn by the artist under his clothing, contributes to his taste for disguises (here as a…
Rembrandt (1606-1669) & workshop? Self-Portrait c.1634–1635 Oil on oak, 80 x 62 cm Musée du Louvre, Paris Partially repainted painting and a complex execution process. Initially rectangular in format – the panel originally bore a student composition of the master inspired…
Rembrandt (1606-1669) Self-Portrait at an Easel 1660 Oil on canvas, 111 x 85 cm Musée du Louvre, Paris One of Rembrandt‘s large self-portraits with those of Vienna (1652), the Frick Collection in New York (1658) and Kenwood (c.1665–1669), all late…
Rembrandt (1606-1669) Landscape with a Castle c.1640–1642 Oil on panel, 44 x 60 cm Musée du Louvre, Paris Painting visibly left in a certain state of incompleteness (the sky by contrast was painted first and is colored and finished): Rembrandt…
Rembrandt (1606-1669) The Holy Family with St Anne 1640 Oil on panel, 41 x 34 cm Musée du Louvre, Paris The Christian meaning of the painting has often been obliterated in favor of a purely secular interpretation: for example at…
Rembrandt (1606-1669) The Archangel Raphael Leaving Tobias’ Family 1637 Oil on panel, 66 x 52 cm Musée du Louvre, Paris Tobit, Tobit’s old father, having regained his sight through the medication of the archangel Raphael, gives thanks to God with…
Rembrandt (1606-1669) Bathsheba at Her Bath 1654 Oil on canvas, 142 x 142 cm Musée du Louvre, Paris Subject taken from the Bible (II Book of Samuel, the importance of the letter delivered to Bathsheba, the strong point of an…