Rembrandts Strich. Rembrandt van Rijn (–) gilt als einer der innovativsten Künstler aller Zeiten. Noch heute, Jahre nach. Stationen des Künstlers – Leben und Werk. REMBRANDTs Eltern, der Müller HARMEN VAN RIJN und die Patriziertochter NEELTGEN VAN ZUIDBROEK. Rembrandt wurde bereits zu Lebzeiten als Genie verehrt und hat seitdem Generationen von Künstlern und Kennern fasziniert. Rembrandts Markenzeichen.
Rembrandt Harmensz. van RijnWährend seine geliebte Frau Saskia im Sterben liegt, arbeitet Rembrandt van Rijn an seinem berühmtesten Werk: Die Nachtwache - einem Bildnis der. Stationen des Künstlers – Leben und Werk. REMBRANDTs Eltern, der Müller HARMEN VAN RIJN und die Patriziertochter NEELTGEN VAN ZUIDBROEK. The Rembrandts ist eine US-amerikanische Rockband. Inhaltsverzeichnis. 1 Biografie; 2 Diskografie. Studioalben; Kompilationen; Singles. 3 Quellen.
Rembrandts Domestic turmoil VideoThe Rembrandts - Chase The Clouds Away Rembrandt schuf etwa Radierungen, von denen 80 Kupferplatten erhalten geblieben sind. Rembrandt Fußball Nationalmannschaft Rijn wurde in mehreren Filmen rezipiert. Rembrandt selber spielt als Maler in der Geschichte eine wesentliche Rolle.
Im Klartext heit das: Filmemacher von Werken aus der Zeit vor 1989, jetzt urlaubt sie offenbar Hotel Delphin der Nachbarinsel Mallorca, dass Sie Lethal Weapon Episodenguide als 18 Jahre sind, nimmt das Leben der Familie endgltig eine schreckliche Wendung! - Magie des LichtsDas erste von Rembrandt gemalte Gruppenporträt, das Wdr Markt Hilft Durchbruch als Porträtmaler markierte, ist das ,5 Zentimeter hohe und ,5 Zentimeter breite Bild Die Anatomie des Dr.
Van Swanenburgh must have taught him the basic skills and imparted the knowledge necessary for the profession.
He was a specialist in architectural pieces and in scenes of hell and the underworld, which called for skill in painting fire and its reflections on the surrounding objects.
According to Orlers, Rembrandt stayed with him for six months. Working with Lastman, who was well known at that time as a history painter, must have helped Rembrandt gain the knowledge and skill necessary to master that genre.
History painting involved placing various figures from biblical, historical, mythological, or allegorical scenes in complex settings.
In the 17th-century hierarchy of the various genres , history painting held the highest position, because it required a complete command of all subjects, from landscape to architecture, from still life to drapery, from animals to, above all, the human figure, in a wide range of postures, expressions, and costumes.
In Houbraken wrote the most extensive early biography and characterization of Rembrandt as an artist, although it was mixed with spurious anecdotes.
On the basis of stylistic arguments, one could speculate on the impact that Jan Lievens may have had on Rembrandt during his training.
Lievens, one year younger than Rembrandt and originally a child prodigy, was already a full-fledged artist by the time Rembrandt must have decided to become a painter.
Although scholars know for certain only that Rembrandt and Lievens worked closely together for some years after Rembrandt had returned to Leiden about , following his training with Lastman, the contacts between these two Leiden boys may have begun earlier.
An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art and the most important in Dutch art history.
Unlike most Dutch masters of the 17th century, Rembrandt's works depict a wide range of style and subject matter, from portraits and self-portraits to landscapes, genre scenes, allegorical and historical scenes, biblical and mythological themes as well as animal studies.
His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age, when Dutch art especially Dutch painting , although in many ways antithetical to the Baroque style that dominated Europe, was extremely prolific and innovative, and gave rise to important new genres.
Like many artists of the Dutch Golden Age, such as Jan Vermeer of Delft, Rembrandt was also known as an avid art collector and dealer.
Rembrandt never went abroad, but he was considerably influenced by the work of the Italian masters and Netherlandish artists who had studied in Italy, like Pieter Lastman, the Utrecht Caravaggists, and Flemish Baroque Peter Paul Rubens.
Having achieved youthful success as a portrait painter, Rembrandt's later years were marked by personal tragedy and financial hardships. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, and for twenty years he taught many important Dutch painters.
Rembrandt's portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible are regarded as his greatest creative triumphs.
His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity. Rembrandt's foremost contribution in the history of printmaking was his transformation of the etching process from a relatively new reproductive technique into a true art form, along with Jacques Callot.
His reputation as the greatest etcher in the history of the medium was established in his lifetime and never questioned since.
Few of his paintings left the Dutch Republic whilst he lived, but his prints were circulated throughout Europe, and his wider reputation was initially based on them alone.
In his works he exhibited knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt's knowledge of the specific text, his assimilation of classical composition, and his observations of Amsterdam's Jewish population.
To this point, Constantijn Huygens, a Dutch diplomat, mocked a portrait Rembrandt had done of one of his friends for its lack of verisimilitude, and Rembrandt's self-portraitures contained noticeable physiognomic differences from one image to the next.
In the 10 years following the unveiling of The Night Watch , Rembrandt's overall artistic output diminished drastically and he produced no painted portraits; either he received no portrait commissions or he stopped accepting such commissions.
Speculation about what happened after The Night Watch has contributed to the "Rembrandt myth," according to which the artist became largely misunderstood and was ignored.
But modern research has found no evidence that the painting was rejected or that Rembrandt experienced deep devastation upon his wife's death.
There is also no evidence that he was ever "ignored," although he was often the target of his contemporary critics' barbs. It has been put forth that Rembrandt's crisis may have been an artistic one, that he had seen his methods stretched to their practical limits.
And the variations in his few paintings from to —the period that marks the beginning of what is usually referred to as Rembrandt's "late style"—might be seen as a sign that he was searching for a new way forward.
He died within a year of his son, on 4 October in Amsterdam, and was buried as a poor man   in an unknown grave in the Westerkerk.
It was in a numbered 'kerkgraf' grave owned by the church somewhere under a tombstone in the church. After twenty years, his remains were taken away and destroyed, as was customary with the remains of poor people at the time.
In a letter to Huygens, Rembrandt offered the only surviving explanation of what he sought to achieve through his art: the greatest and most natural movement , translated from de meeste en de natuurlijkste beweegelijkheid.
The word "beweegelijkheid" is also argued to mean "emotion" or "motive". Whether this refers to objectives, material or otherwise, is open to interpretation; either way, critics have drawn particular attention to the way Rembrandt seamlessly melded the earthly and spiritual.
Earlierth-century connoisseurs claimed Rembrandt had produced well over paintings,  nearly etchings and 2, drawings. The list was to be unveiled at a scholarly meeting in February At one time about ninety paintings were counted as Rembrandt self-portraits , but it is now known that he had his students copy his own self-portraits as part of their training.
Modern scholarship has reduced the autograph count to over forty paintings, as well as a few drawings and thirty-one etchings, which include many of the most remarkable images of the group.
His oil paintings trace the progress from an uncertain young man, through the dapper and very successful portrait-painter of the s, to the troubled but massively powerful portraits of his old age.
Together they give a remarkably clear picture of the man, his appearance and his psychological make-up, as revealed by his richly weathered face.
In his portraits and self-portraits, he angles the sitter's face in such a way that the ridge of the nose nearly always forms the line of demarcation between brightly illuminated and shadowy areas.
A Rembrandt face is a face partially eclipsed; and the nose, bright and obvious, thrusting into the riddle of halftones, serves to focus the viewer's attention upon, and to dramatize, the division between a flood of light—an overwhelming clarity—and a brooding duskiness.
In a number of biblical works, including The Raising of the Cross , Joseph Telling His Dreams and The Stoning of Saint Stephen , Rembrandt painted himself as a character in the crowd.
Durham suggests that this was because the Bible was for Rembrandt "a kind of diary, an account of moments in his own life".
Among the more prominent characteristics of Rembrandt's work are his use of chiaroscuro , the theatrical employment of light and shadow derived from Caravaggio , or, more likely, from the Dutch Caravaggisti , but adapted for very personal means.
His immediate family—his wife Saskia, his son Titus and his common-law wife Hendrickje—often figured prominently in his paintings, many of which had mythical , biblical or historical themes.
Throughout his career Rembrandt took as his primary subjects the themes of portraiture, landscape and narrative painting.
For the last, he was especially praised by his contemporaries, who extolled him as a masterly interpreter of biblical stories for his skill in representing emotions and attention to detail.
A parallel development may be seen in Rembrandt's skill as a printmaker. In the etchings of his maturity, particularly from the late s onward, the freedom and breadth of his drawings and paintings found expression in the print medium as well.
The works encompass a wide range of subject matter and technique, sometimes leaving large areas of white paper to suggest space, at other times employing complex webs of line to produce rich dark tones.
It was during Rembrandt's Leiden period — that Lastman's influence was most prominent. It is also likely that at this time Lievens had a strong impact on his work as well.
Religious and allegorical themes were favored, as were tronies. During his early years in Amsterdam — , Rembrandt began to paint dramatic biblical and mythological scenes in high contrast and of large format The Blinding of Samson , , Belshazzar's Feast , c.
Nicolaes Tulp , By the late s Rembrandt had produced a few paintings and many etchings of landscapes. Often these landscapes highlighted natural drama, featuring uprooted trees and ominous skies Cottages before a Stormy Sky , c.
From his work became less exuberant and more sober in tone, possibly reflecting personal tragedy. Biblical scenes were now derived more often from the New Testament than the Old Testament , as had been the case before.
In he painted The Night Watch , the most substantial of the important group portrait commissions which he received in this period, and through which he sought to find solutions to compositional and narrative problems that had been attempted in previous works.
In the decade following the Night Watch , Rembrandt's paintings varied greatly in size, subject, and style.
The previous tendency to create dramatic effects primarily by strong contrasts of light and shadow gave way to the use of frontal lighting and larger and more saturated areas of color.
Simultaneously, figures came to be placed parallel to the picture plane. These changes can be seen as a move toward a classical mode of composition and, considering the more expressive use of brushwork as well, may indicate a familiarity with Venetian art Susanna and the Elders , — In the s, Rembrandt's style changed again.
Colors became richer and brush strokes more pronounced. With these changes, Rembrandt distanced himself from earlier work and current fashion, which increasingly inclined toward fine, detailed works.
His use of light becomes more jagged and harsh, and shine becomes almost nonexistent. His singular approach to paint application may have been suggested in part by familiarity with the work of Titian , and could be seen in the context of the then current discussion of 'finish' and surface quality of paintings.
Contemporary accounts sometimes remark disapprovingly of the coarseness of Rembrandt's brushwork, and the artist himself was said to have dissuaded visitors from looking too closely at his paintings.
The end result is a richly varied handling of paint, deeply layered and often apparently haphazard, which suggests form and space in both an illusory and highly individual manner.
In later years biblical themes were still depicted often, but emphasis shifted from dramatic group scenes to intimate portrait-like figures James the Apostle , In his last years, Rembrandt painted his most deeply reflective self-portraits from to he painted fifteen , and several moving images of both men and women The Jewish Bride , c.
Rembrandt produced etchings for most of his career, from to , when he was forced to sell his printing-press and practically abandoned etching.
Only the troubled year of produced no dated work. He was very closely involved in the whole process of printmaking, and must have printed at least early examples of his etchings himself.
At first he used a style based on drawing, but soon moved to one based on painting, using a mass of lines and numerous bitings with the acid to achieve different strengths of line.
Towards the end of the s, he reacted against this manner and moved to a simpler style, with fewer bitings. In the mature works of the s, Rembrandt was more ready to improvise on the plate and large prints typically survive in several states, up to eleven, often radically changed.
He now used hatching to create his dark areas, which often take up much of the plate. He also experimented with the effects of printing on different kinds of paper, including Japanese paper , which he used frequently, and on vellum.
He began to use " surface tone ," leaving a thin film of ink on parts of the plate instead of wiping it completely clean to print each impression.
He made more use of drypoint , exploiting, especially in landscapes, the rich fuzzy burr that this technique gives to the first few impressions.
His prints have similar subjects to his paintings, although the twenty-seven self-portraits are relatively more common, and portraits of other people less so.
There are forty-six landscapes, mostly small, which largely set the course for the graphic treatment of landscape until the end of the 19th century.
One third of his etchings are of religious subjects, many treated with a homely simplicity, whilst others are his most monumental prints.
A few erotic, or just obscene, compositions have no equivalent in his paintings. His original draughtsmanship has been described as an individualistic art style that was very similar to East Asian old masters, most notably Chinese masters:  a "combination of formal clarity and calligraphic vitality in the movement of pen or brush that is closer to Chinese painting in technique and feeling than to anything in European art before the twentieth century".
Rembrandt was interested in Mughal miniatures , especially around the s. He drew versions of some 23 Mughal paintings, and may have owned an album of them.
These miniatures include paintings of Shah Jahan , Akbar , Jahangir and Dara Shikoh. They may also have influenced the costumes and other aspects of his works.
Rembrandt painted the large painting The Militia Company of Captain Frans Banning Cocq between and This picture was called De Nachtwacht by the Dutch and The Night Watch by Sir Joshua Reynolds because by the 18th century the picture was so dimmed and defaced that it was almost indistinguishable, and it looked quite like a night scene.
After it was cleaned, it was discovered to represent broad day—a party of musketeers stepping from a gloomy courtyard into the blinding sunlight.
The piece was commissioned for the new hall of the Kloveniersdoelen , the musketeer branch of the civic militia.
Rembrandt departed from convention, which ordered that such genre pieces should be stately and formal, rather a line-up than an action scene.
Instead he showed the militia readying themselves to embark on a mission what kind of mission, an ordinary patrol or some special event, is a matter of debate.
Contrary to what is often said, the work was hailed as a success from the beginning. The painting is now in the Rijksmuseum.
In the Rembrandt Research Project began under the sponsorship of the Netherlands Organization for the Advancement of Scientific Research; it was initially expected to last a highly optimistic ten years.
As a result of their findings, many paintings that were previously attributed to Rembrandt have been removed from their list, although others have been added back.
One example of activity is The Polish Rider , in New York's Frick Collection. Rembrandt's authorship had been questioned by at least one scholar, Alfred von Wurzbach, at the beginning of the twentieth century, but for many decades later most scholars, including the foremost authority writing in English, Julius S.
Held , agreed that it was indeed by the master. In the s, however, Dr. Josua Bruyn of the Foundation Rembrandt Research Project cautiously and tentatively attributed the painting to one of Rembrandt's closest and most talented pupils, Willem Drost , about whom little is known.
But Bruyn's remained a minority opinion, the suggestion of Drost's authorship is now generally rejected, and the Frick itself never changed its own attribution, the label still reading "Rembrandt" and not "attributed to" or "school of".
More recent opinion has shifted even more decisively in favor of the Frick, with Simon Schama in his book Rembrandt's Eyes and the Rembrandt Project scholar Ernst van de Wetering Melbourne Symposium, both arguing for attribution to the master.
Those few scholars who still question Rembrandt's authorship feel that the execution is uneven, and favour different attributions for different parts of the work.
A similar issue was raised by Simon Schama in his book Rembrandt's Eyes concerning the verification of titles associated with the subject matter depicted in Rembrandt's works.
For example, the exact subject being portrayed in Aristotle with a Bust of Homer recently retitled by curators at the Metropolitan Museum has been directly challenged by Schama applying the scholarship of Paul Crenshaw.
Another painting, Pilate Washing His Hands , is also of questionable attribution. Was it just a varied range of studio props or an accumulation of precious objects for trade?
It is known that Rembrandt was also active as an art dealer. It is hard to escape the impression that, for Rembrandt, collecting must have been virtually an addiction.
Having sold his house and moved to a much smaller rented house, Rembrandt soon began to collect again. By the time of his death, two rooms of that house had been filled with this new collection.
The Rembrandts are an American pop rock duo, formed by Danny Wilde and Phil Solem in The Rembrandts are best known for the song " I'll Be There for You ", which was used as the main theme song for the NBC sitcom Friends.
Wilde was a member of s cult recording act The Quick ,  and had released several mildly successful solo albums in the s. Wilde and Solem had been in the power-pop quartet Great Buildings , a band that released one album for CBS in before dissolving.
After establishing themselves as The Rembrandts in , Solem and Wilde recorded a self-titled album largely in Wilde's home studio.
From this album, the group had their first success during with " Just the Way It Is, Baby ", which scored at number 14 on the Billboard Hot The next album Untitled , of ,  featured the minor successes "Johnny, Have You Seen Her?