Rembrandt Harmensz van Rijn (Great Masters)

By Émile Michel, Vladimir Loewinson-Lessing, Irena Linnik, Youri Kouznetsov, Xenia Egorova

Great Masters: a chain of biographies of mythical artists that includes their top work

A portray via Rembrandt is a residing entity that exists in keeping with its personal legislation, which displays the multiplicity of the ideas and feelings within the painter's brain. males and their psychological situation: that's the basic factor the artist attempts to unravel all through his existence. affected by relatives difficulties, he took preserve in portray, which grew to become even higher as issues bought worse, as though depicted via a visionary. Hiding his nervousness within the optimism of his topics and within the energy of darkish colours, he was once finally effective.

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Seventy two 12. DAVID AND JONATHAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . seventy six thirteen. AN outdated girl IN AN ARMCHAIR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . eighty two 14. PORTRAIT OF AN previous guy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 15. THE HOLY family members WITH ANGELS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 sixteen. DANAE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ninety four 17. PORTRAIT OF AN outdated girl. . . . . . . . . . . . . . . . . . . . . . . . . . .

7 His paintings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 1. CHRIST using THE MONEYCHANGERS FROM THE TEMPLE . . . . . . . . . . . . . . . . . . . . . . . . . 30 2. PORTRAIT OF AN previous guy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 three. THE ADORATION OF THE MAGI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . forty four. PORTRAIT OF A BOY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . forty six five. younger guy WITH A LACE COLLAR . . . . . . . . . . . . . . . . . . . . . . . . . . .

Forty six five. younger guy WITH A LACE COLLAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . forty eight 6. SASKIA IN ARCADIAN gown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 7. THE RISEN CHRIST exhibiting HIS WOUNDS TO THE APOSTLE THOMAS . . . . . . . . . . . . . . . . fifty four eight. THE DESCENT FROM THE move . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 nine. THE ANGEL preventing ABRAHAM FROM SACRIFICING ISAAC TO GOD. . . . . . . . . . . . . . . . . . sixty four 10. the myth OF THE LABOURERS within the winery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Forty four. PORTRAIT OF A BOY. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . forty six five. younger guy WITH A LACE COLLAR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . forty eight 6. SASKIA IN ARCADIAN gown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 7. THE RISEN CHRIST displaying HIS WOUNDS TO THE APOSTLE THOMAS . . . . . . . . . . . . . . . . fifty four eight. THE DESCENT FROM THE pass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 nine. THE ANGEL preventing ABRAHAM FROM SACRIFICING ISAAC TO GOD. . . . . . . . . . . . . . . . . . sixty four 10. the myth OF THE LABOURERS within the winery .

50 7. THE RISEN CHRIST exhibiting HIS WOUNDS TO THE APOSTLE THOMAS . . . . . . . . . . . . . . . . fifty four eight. THE DESCENT FROM THE go . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 nine. THE ANGEL preventing ABRAHAM FROM SACRIFICING ISAAC TO GOD. . . . . . . . . . . . . . . . . . sixty four 10. the myth OF THE LABOURERS within the winery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . sixty eight eleven. BAARTJEN MAERTENS, spouse OF HERMAN DOOMER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . seventy two 12. DAVID AND JONATHAN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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