Rembrant Harmenszoon van Rijn Outstanding painter and etcher of the . Even during his lifetime he was highly regarded. Had numerous students and imitators. Harmenszoon van Rijn

Rembrandt was born in Leiden on July 15, 1606, ninth child of the miller Harmen Gerritszoon van Rijn and the baker's daughter Neeltgen Willemsdochter van Zuytbroeck

SELF PORTRAIT AS A YOUNG MAN c. 1628 22.5 x 18.6 cm. ,

From 1620 to either 1624 or 1625, Rembrandt trained as an artist under two masters.

Jacob van Swanenburgh - 3 years, basic artistic skills a Dutch painter, draftsman and art dealer. He was a specialist in architectural pieces and in scenes of hell and the underworld.

The Harrowing of Hell Jacob van Swanenburgh Dutch painter of biblical and mythological scenes in antique landscapes who had a strong influence on the young Rembrandt

Sacrifice of Manoah oil on wood Pieter Lastman In 1634, Rembrandt married , the cousin of his art dealer Hendrik van Uylenburgh,

He and Saskia had four children: Rumbartus, Cornelia, another Cornelia, and Titus (1641), who was the only child REMBRANDT AND SASKIA IN THE to survive infancy. SCENE OF THE PRODIGAL SON IN THE BROTHEL c. 1635, Oil on Canvas 161 x 131 cm Gemäldegalerie, Dresden ETCHING

Rembrandt is considered the most accomplished etcher ever. He handled the needle with such skill and speed, his etchings convey the spontaneity of a sketch. 'SELF PORTRAIT', WIDE-EYED 1630, ETCHING 51 X 46MM. RIJKSMUSEUM, AMSTERDAM SIX'S BRIDGE 1645 131 x 235 mm.

“Six’s Bridge,” a landscape was said to have been done between courses during dinner when a servant dashed to a nearby village to fetch mustard PAINTINGS

Rembrandt’s technique evolved from attention to minute detail to a large-scale subjects given form through broad, thick smudges of paint. EARLY STYLE, c. 1622-42

Used dramatic light/dark contrasts Design seemed to burst frame Scenes featured groups of figures Based on physical action Vigorous, melodramatic tone Highly finished, detailed technique The Stoning of Saint Stephen 1625, Oil on canvas Rembrandt’s first known painting 89 cm × 123 cm (35 in × 48 in) Musée des Beaux-Arts de Lyon, Lyon Rembrandt likes to insert himself into his other paintings January 16, 1632.

Corpse: Aris Kindt aka Adriaan Adriannszoon A criminal who was convicted of armed robbery and sentenced to death by hanging.

The sentence was carried out earlier on the same day of the scene.

Anatomy lessons were a social event in the “Anatomy Lesson of Dr. Nicholaes Tulp” 17th century with students, 1632, oil on canvas colleagues and the general public being 169.5 x 216.5 cm. allowed to attend upon , The Hague payment of an entrance fee. “Belshazzar's Feast“ 1635, Oil on canvas 167.6 cm × 209.2 cm (66.0 in × 82.4 in) , London

“Storm on the Sea of Galilee“ 1633, Oil on canvas 160 cm × 128 cm (62.99 in × 50.39 in) Whereabouts unknown since the Isabella Stewart Gardner Museum theft in 1990 LATE STYLE, c. 1643-69

Used golden brown tones Static brooding atmosphere Scenes simplified with single subject Implied psychological reaction Quiet, solemn mood Painted with broad, thick strokes Bathsheba at Her Bath 1654, Oil on canvas 142 cm × 142 cm (56 in × 56 in) Location The Louvre, Paris (or Bathsheba with King David's Letter)

Bathsheba was the wife of Uriah, a general of King David's army. The king, upon seeing Bathsheba bathing, had her summoned, and led her into adultery. In this, one of his major works, the artist focuses his representation of the episode on Bathesheba at her bath. She is Bathsheba at Her Bath portrayed deeply disturbed by the royal 1654, Oil on canvas message. 142 cm × 142 cm (56 in × 56 in) Location The Louvre, Paris

Rembrandt, Officers and Men of the Company of Captain Frans Banning Cocq and Lieutenant Wilhelm van Ruytenburgh, known as , 1642, oil on canvas, 363 cm × 437 cm (142.9 in × 172.0 in), Rijksmuseum, Amsterdam "The Night Watch," a group portrait of one of Amsterdam's local militias, painted by Rembrandt van Rijn in 1642, at the height of the Dutch Golden Age.

Rembrandt, Officers and Men of the Company of Captain Frans Banning Cocq and Lieutenant Wilhelm van Ruytenburgh, known as the Night Watch, 1642, oil on canvas, 379.5 x 453.5 cm (Rijksmuseum, Amsterdam) Militiamen

The painting's official title is "Officers and Other Militiamen from Amsterdam's Second District, led by Captain Frans Banning Coq and Lieutenant Willem van Ruytenburch." Coq can be seen in the central foreground, wearing a red sash. Van Ruytenburch, wearing yellow, stands next to him. Sixteen additional portraits of members of this company are also included, with the names of all inscribed on a framed shield in the archway. A Golden Girl

The little girl in a golden dress is seen as the mascot of the militia. She carries a dead chicken with large claws ("cloven"), and a pistol, known as a "klover" tucked into her belt -- these were the symbols of the "Kloveniers," or arquebusiers, the gun- equipped troops in the picture. Vandalism

"The Night Watch" has been targeted by vandals three times in its history. The most serious incident occurred in 1975 when it was repeatedly slashed with a knife by an unemployed teacher. Though it underwent major restoration work, one of the cuts can still be seen, over the figure of the dog. Rembrandt This barely-there figure, whose eye and beret are just seen, is believed to be a self-portrait of Rembrandt himself. Why is it called “Night Watch”?

The so-called Night Watch is not a night scene at all; it actually takes place during the day. This title, which was not given by the artist, was first applied at the end of the 18th century. By that time the painting had darkened considerably through the accumulation of many layers of dirt and varnish, giving the appearance that the event takes place at night.

During a restoration in the 1940s, the varnish was removed, but the name stuck. Original aged painting After Restoration IT'S BIGGER THAN YOU'D THINK ... In addition to being Rembrandt’s most famous painting, at nearly 12 feet by 14 feet, The Night Watch was also his largest one. ... WHICH MEANT THE VERSION YOU KNOW WAS EDITED. Seventy-three years after its creation, the massive painting was moved to Amsterdam's town hall. However, it was too big to fit the wall where it was meant to hang. As was common at the time, the painting's canvas was cut to better accommodate its new home. In this edit, the top of the arch, the balustrade, and the edge of the step were lost, along with two figures on the left side. 18th century copy with indication of the areas cut down in 1715. EARLY STYLE, c. 1622-42 LATE STYLE, c. 1643-69

Used dramatic light/dark contrasts Used golden brown tones Design seemed to burst frame Static brooding atmosphere Scenes featured groups of figures Scenes simplified with single subject Based on physical action Implied psychological reaction Vigorous, melodramatic tone Quiet, solemn mood Highly finished, detailed technique Painted with broad, thick strokes Rembrandt died at the age of 63 on October 4, 1669 in Amsterdam, and was buried in an unmarked grave in the . More than 90 Self-portraits 600 Paintings 300 Etchings 1400 Drawings “Practice what you know, and it will help to make clear what now you do not know.”

Rembrandt van Rijn