RembrandtLeiden 1606 - Amsterdam 1669
Find out how a little knowledge of studio life goes a long way
Michelangelo's last Pieta, left unfinished at his death but intended for his tomb, helps us make sense of his more famous version carved when he was a young man.
How Rembrandt used gold chains as a symbol of the high honor due to him as a great master
How realism and the use of models fools the eyes. Art, one must remember, is never 'real' and never 'photographic'.
See how Rembrandt turned an anatomy lesson into a scene in his studio (in his mind).
How the setting is so rarely what you think....you must think differently
See the sight which changes the meaning of all Rembrandt's art: Rembrandt is Christ
See how Joseph is an artist staring at his work of art inside the artist's head
See how Rembrandt concisely expresses the underlying idea of art in a Roman myth
Learn about other methods Rembrandt used to convey his message
This painting which depicts Rembrandt crucifying Christ is an excellent example of the alternative way to read art, not viewing it as an illustration but as poetry.
See how one great master resides in another, or sometimes two.
Scholars have long wondered why Rembrandt would represent himself in expensive and extravagant clothing from a century earlier even though they know that the etched self-portrait is based on an engraving of the fifteenth-century painter Jan Gossaert, known as Mabuse.
This painting of a young Rembrandt holding up a dead bird as though he were the hunter has troubled art scholars for years.
Scholars have sometimes wondered why the young Rembrandt painted himself wearing a gorget, the metal collar worn by soldiers of the period, when he himself was never in the military.
Learn how to look and what to look for, and how touching is painting
How Rembrandt's method, and that of great artists in general, is present in his earliest extant painting
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