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The Scholar at the Lectern (1641) – Royal Castle, Warsaw |
The Girl in a Picture Frame (1641) – Royal Castle, Warsaw |
The Night Watch, formally The Militia Company of Captain Frans Banning Cocq (1642) – Rijksmuseum, Amsterdam |
Boaz and Ruth (1643) – Woburn Abbey, Bedfordshire & Gemaldegalerie, Berlin |
The Mill (1645/48) – National Gallery of Art, Washington, D.C. |
Susanna and the Elders (1647) – Gemäldegalerie, Berlin |
Christ Healing the Sick, also known as the Hundred Guilder Print (c. 1648) – Allen Memorial Art Museum, Oberlin, Ohio. Name derives from a print seller who claimed to have sold an impression of the print back to Rembrandt for 100 Guilders. |
Head of Christ (1648) – Gemäldegalerie, Berlin |
Aristotle Contemplating a Bust of Homer (1653) – Metropolitan Museum of Art, New York |
The Three Crosses (1653) – Museum of Fine Arts, Boston |
Bathsheba at Her Bath (1654) – The Louvre, Paris |
Christ Presented to the People (c. 1655) – Various versions at different museums. One of the two largest prints made by Rembrandt. |
Pallas Athena (c. 1657) – Calouste Gulbenkian Museum, Lisbon |
Portrait of Dirck van Os (c. 1658) – Joslyn Art Museum, Omaha, Nebraska |
Self-Portrait with Beret and Turned-Up Collar (1659) – National Gallery of Art, Washington, D.C. |
Ahasuerus and Haman at the Feast of Esther (1660) – Pushkin Museum, Moscow |
The Conspiracy of Claudius Civilis (c. 1661-1662) – Nationalmuseum, Stockholm. The majority of the original painting is now lost as Rembrandt cut it up in order for it to be sold. It is also his last secular history painting. |
Syndics of the Drapers' Guild (1662) – Rijksmuseum, Amsterdam |
The Jewish Bride (c. 1665-1669) – Rijksmuseum, Amsterdam |
Haman before Esther (1665) – National Museum of Art of Romania, Bucharest |
Self-Portrait at the Age of 63 (1669) – National Gallery, London. One of Rembrandt's last self-portraits. |
The Return of the Prodigal Son (1669) – Hermitage Museum, St. Petersburg. One of Rembrandt's last paintings. |
Exhibitions |
Sept–Oct 1898: Rembrandt Tentoonstelling (Rembrandt Exhibition), Stedelijk Museum, Amsterdam, the Netherlands. |
Jan–Feb 1899: Rembrandt Tentoonstelling (Rembrandt Exhibition), Royal Academy, London. |
21 April 2011 – 18 July 2011: Rembrandt and the Face of Jesus, Musée du Louvre. |
16 September 2013 – 14 November 2013: Rembrandt: The Consummate Etcher, Syracuse University Art Galleries. |
19 May 2014 – 27 June 2014: From Rembrandt to Rosenquist: Works on Paper from the NAC's Permanent Collection, National Arts Club. |
19 October 2014 – 4 January 2015: Rembrandt, Rubens, Gainsborough and the Golden Age of Painting in Europe, Jule Collins Smith Museum of Art. |
15 October 2014 – 18 January 2015: Rembrandt: The Late Works, The National Gallery, London. |
12 February 2015 – 17 May 2015: Late Rembrandt, The Rijksmuseum, Amsterdam. |
16 September 2018 – 6 January 2019: Rembrandt – Painter as Printmaker, Denver Art Museum, Denver. |
24 August 2019 – 1 December 2019: Leiden circa 1630: Rembrandt Emerges, Agnes Etherington Art Centre, Kingston, Ontario. |
4 October 2019 – 2 February 2020: Rembrandt's Light, Dulwich Picture Gallery, London. |
18 February 2020 – 30 August 2020: Rembrandt and Amsterdam portraiture, 1590–1670 , Museo Nacional Thyssen-Bornemisza, Madrid. |
10 August 2020 – 1 November 2020: Young Rembrandt, Ashmolean Museum, Oxford. |
Paintings |
Self-portraits |
Other major paintings |
Drawings and etchings |
Rembrandt drawings at the Albertina |
Rembrandt etchings at The Morgan Library & Museum |
See also |
Rembrandt's prints |
Notes |
References |
Works cited |
Further reading |
External links |
A biography of the artist Rembrandt Harmensz. van Rijn from the National Gallery, London |
Works and literature on Rembrandt from Pubhist.com |
The Drawings of Rembrandt: a revision of Otto Benesch's catalogue raisonné by Martin Royalton-Kisch (in progress) |
Rembrandt's house in Amsterdam Site of the Rembrandt House Museum in Amsterdam, with images of many of his etchings |
114 artworks by or after Rembrandt at the Art UK site |
Works by or about Rembrandt at the Internet Archive |
Rembrandt van Rijn, General Resources |
The transparent connoisseur 3: the 30 million pound question by Gary Schwartz |
Rembrandt |
The Rembrandt Database research data on the paintings, including the full contents of the first volumes of A Corpus of Rembrandt Paintings by the Rembrandt Research Project |
Die Urkunden über Rembrandt by C. Hofstede de Groot (1906). |
Richard Brakenburgh or Brakenburg (22 May 1650, in Haarlem – 28 December 1702, in Haarlem), was a Dutch Golden Age painter. |
Biography |
According to Arnold Houbraken he was a light-hearted poet from Haarlem. He was the pupil of Hendrik Mommers who went on to paint clever genre scenes in the manner of Adriaen van Ostade. Though some said he was the pupil of Bernard Schendel, they were the same age and painted in similar styles. He was successful enough at his art that his Frisian widow was able to purchase an annuity after his death in Friesland. |
According to the RKD he is registered in Leeuwarden during the years 1670–1687. He is known for both Italianate landscapes and portraits. He painted similar subjects to those of Schendel, representing merry-makings and drunken assemblies. His pictures are ingeniously composed, and well coloured, something in the manner of Adriaen van Ostade, though greatly inferior. They are painted with facility, although they have the appearance of being very highly finished; and he perfectly understood the management of chiaroscuro. His greatest defect is his incorrect drawing of the figure, which he appears not to have studied from nature. The Vienna Gallery has two 'Peasant Scenes' by him, said to have been painted in 1690; the Berlin Museum one, and the Amsterdam Gallery one. In the Brussels Gallery is a 'Children's Feast,' signed and dated 1698; and the Rotterdam Museum has a 'Doctor's Visit,' signed and dated 1696. In Windsor Castle are two good 'Artists' Studios ' by him. He also sometimes practised the art of engraving. |
He was the teacher of Wigerus Vitringa, Abraham Pardanus, and Gillis de Winter. He was a follower of Jan Steen. He died at Haarlem in December 1702 and was buried in January 1703. |
Gallery |
Notes |
References |
Richard Brakenburgh on Artnet |
Attribution: |
This article incorporates text from a publication now in the public domain: Bryan, Michael (1886). "Brakenburg, Richard". In Graves, Robert Edmund (ed.). Bryan's Dictionary of Painters and Engravers (A–K). Vol. I (3rd ed.). London: George Bell & Sons. |
Robert Salmon (1775 – c. 1845) was a maritime artist, active in both England and America. Salmon completed nearly 1,000 paintings, all save one of maritime scenes or seascapes. He is widely considered the Father of American Luminism. |
Early life in England |
Salmon was born in Whitehaven, Cumberland, England in October or November, 1775 as Robert Salomon; he was christened on 5 November 1775 in Whitehaven. His father, Francis Salomon, was a jeweler. The young Salmon clearly studied the work of Dutch marine painters of the 17th century, the Italian painters of vedute, and the work of Claude Lorrain, but little else is known of his early training. His earliest known works, Two Armed Merchantmen Leaving Whitehaven Harbor and The ‘Estridge’ Off Dover are dated 1800; the first work he exhibited at the Royal Academy was in 1802. |
Robert Salmon settled in the busy seaport of Liverpool in 1806 and changed his name from Salomon to Salmon. Many of his marine paintings from this early period survive, and are housed in the National Maritime Museum in London. His ship portraits indicate he had a familiarity with sailing ships and an intimate knowledge of how they worked. These portraits tend to follow his traditional practice of showing the same vessel in at least two positions on the same canvas. In April, 1811 he moved from the Liverpool area to Greenock, Scotland and then back to Liverpool in October 1822. In 1826 he returned to Greenock, then he left for London in 1827, and shortly thereafter he went to Southampton, North Shields and Liverpool. |
Along with many other young artists, Salmon believed that his artistic future lay in the United States. Before his departure in 1828, the artist executed his only extant portrait, Portrait of the Corsair, John Paul Jones, a work very much a part of the Romantic ethos of his time. He assumed his "likeness" of Paul Jones would form a bond with the viewers in his future home. He could not know, having never been to America, that the memory of America's greatest naval hero had effectively vanished in the public mind before the painting was completed. |
Emigration to America and life in Boston |
In 1828, Salmon left Europe for the United States on the packet ship, "New York", arriving on New Years Day, 1829 and staying until 1840. Living in a small hut on Marine Railway Wharf overlooking Boston Harbor, Salmon prospered as a marine painter, accepting commissions to paint ship portraits. During the growth of Boston Harbor in the first half of the century, Salmon painted between 300-400 paintings of the Harbor, in the style of 17th century Dutch genre painting. He was thought to be an eccentric, solitary and irascible man. |
Salmon soon became one of the most prominent Boston seascape painters. During the ensuing years, he divided his time between painting and working in the lithographic studio of William S. Pendleton, where he encountered William Bradford and Fitz Henry Lane. This contact between Lane and Salmon was of great importance to Lane, and became evident in his marine views. |
During his lifetime, Salmon's work was very popular, and was collected by Bostonians Samuel Cabot, Robert Bennett Forbes, and John Newmarch Cushing. |
Later years |
Salmon left Boston in 1842 and for many years was believed to have died shortly after his leaving there. Instead, he returned to Europe and went to Italy. A number of Italian views attributed to him have survived, the latest of which is dated 1845, the year of his last documented work. The actual date of his death remains uncertain. |
Robert Salmon's works can be found at the U.S. Naval Academy; Museum of Fine Arts, Boston; National Maritime Museum, Greenwich; Walker Art Gallery, Liverpool; New Britain Museum of American Art, Connecticut; Yale Center for British Art, New Haven, Connecticut; Mariners Museum, Newport News, Virginia; William A. Farnsworth Art Museum, Rockland, Maine; Peabody Essex Museum of Salem; Shelburne Museum, Vermont; the Worcester Art Museum, Massachusetts; and the Channel Islands Maritime Museum, Oxnard, CA. |
Gallery |
References |
External links |
Askart.com |
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