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Ниже приведен список картин Рембрандта, которые общепринято автограф по научно-исследовательского проекта Rembrandt.
Изображение | Название | Год | Техника | Размеры | Место хранения | № | Комментарии |
---|---|---|---|---|---|---|---|
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The Spectacles-pedlar (Sight) | c. 1624 | Доска, масло | 21 x 17.8 см | ![]() |
1 | |
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The Three Singers (Hearing) | c. 1624-1625 | Доска, масло | 21.6 x 17.8 см | Collection W. Baron van Dedem | 2 | |
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The Operation (Touch) | c. 1624-1625 | Доска, масло | 21.5 x 17.7 см | частное собрание | 3 | |
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Unconscious Patient (Allegory of Smell) | c. 1624-1625 | Доска, масло | 21.5 x 17.7 см | частное собрание | 3 | |
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Christ Driving the Money-changers from the Temple | 1624/1625 | Доска, масло | 43.1 х 32 см | ![]() |
4 | |
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Мученичество Святого Стефана | 1625 | Доска, масло | 89.5 x 123.6 см | ![]() |
5 | |
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Bust of a Man Wearing a Gorget and Plumed Beret | 1626 | Доска, масло | 40 x 29.4 см | частное собрание | 6 | |
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Великодушие Клавдия Цивилиса | 1626 | Доска, масло | 90 x 122 см | ![]() |
7 | Subject still under discussion |
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Давид с головой Голиафа перед Саулом | 1626/1627 | Доска, масло | 27.2 x 39.6 см | ![]() |
8 | |
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The Baptism of the Eunuch | 1626 | Доска, масло | 63.5 x 48 см | Museum Catharijneconvent, Utrecht | 9 | The abraded face of Philip has been unsatisfactorily retouched. |
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Валаамова ослица | 1626 | Доска, масло | 63.2 x 46.5 см | ![]() |
10 | |
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Концерт | 1626 | Доска, масло | 63.4 x 47.6 см | ![]() |
11 | |
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Товит и Анна с козлёнком | 1626 | Доска, масло | 40.1 x 29.9 см | ![]() |
12 | |
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The Flight into Egypt | 1627 | Доска, масло | 27.5 x 24.7 см | Musée des Beaux-Arts de Tours | 13 | |
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The Rich Man from the Parable | 1627 | Доска, масло | 31.7 x 42.5 см | ![]() |
14 | |
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The apostle Paul in Prison | 1627 | Доска, масло | 72.8 x 60.2 см | Staatsgalerie Stuttgart | 15 | There are darkened overpaintings on both sides of the seams of the panel. |
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Simeon in the Temple | ок. 1628 | Доска, масло | 55.4 x 43.7 см | Kunsthalle Hamburg | 16 | Mary’s cloak has been overpainted by another hand later; it was probably a lighter blue-grey in the original. |
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The Foot Operation | 1628 | Доска, масло | 31.8 x 24.4 см | частное собрание | 17 | |
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Rembrandt Laughing | ок. 1628 | Oil on copper | 22.2 x 17.1 см | J. Paul Getty Museum, Los Angeles | 18 | |
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Study in the Mirror (the Human Skin) | ок. 1627/1628 | Доска, масло | 42.8 x 33 см | Indianapolis Museum of Art | 19 | |
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Автопортрет | ок. 1628 | Доска, масло | 22.6 x 18.7 см | ![]() |
20 | |
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Bust of a Man Wearing a Turban | ок. 1628 | Доска, масло | 26.7 x 20.3 см | The Kremer collection | 21 | |
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Interior with figures, called ‘La main chaude’ | ок. 1628 | Доска, масло | 21 x 27 см | National Gallery of Ireland, Dublin | 22 | |
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Иуда, возвращающий сребреники | 1629 | Доска, масло | 79 x 102.3 см | частное собрание | 23 | |
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Художник в мастерской | ок. 1628 | Доска, масло | 24.8 x 31.7 см | ![]() |
24 | |
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Ужин в Эммаусе | 1629 | Доска, масло | 37.4 x 42.3 см | ![]() |
25 | |
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An Old Man Asleep by the Fire (perhaps typifying ‘Sloth’) | 1629 | Доска, масло | 51.9 x 40.8 см | Sabauda Gallery, Turin | 26 | |
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Апостолы Пётр и Павел | 1628 | Доска, масло | 72.3 x 59.5 см | ![]() |
27 | |
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The apostle Paul at his Writing Desk | c. 1629/1630 | Доска, масло | 47.2 x 38 см | ![]() |
28 | The painting is covered with a thick layer of yellowed varnish. |
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Self-portrait with Plumed Beret | 1629 | Доска, масло | 89.7 x 73.5 см | Isabella Stewart Gardner Museum, Boston | 29 | |
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Автопортрет в латном нашейнике | ок. 1629 | Доска, масло | 38.2 x 31 см | ![]() |
30 | The painting is covered by a layer of yellowed varnish and shows darkened retouches. |
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Self-portrait Lit from the Left | 1629 | Доска, масло | 15.5 x 12.7 см | ![]() |
31 | |
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Self-portrait | c. 1630 | Доска, масло | 22.2 x 16.6 см | ![]() |
32 | |
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Self-portrait with Beret and Gathered Shirt (‘stilus mediocris’) | 1630 | Oil on copper | 15 x 12.2 см | ![]() |
33 | |
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Bust of an Old Woman at Prayer (‘stilus gravis’) | c. 1630 | Oil on copper | 15.5 x 12.2 см | Residenzgalerie, Salzburg | 34 | |
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Laughing Soldier (‘stilus humilis’) | c. 1630 | Oil on copper | 15.3 x 12.2 см | ![]() |
35 | |
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Bust of an Old Man | 1630 | Доска, масло | 18.2 x 17.4 см | частное собрание | 36 | Reduced to an oval form, subsequently made into a rectangle by additions. |
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Самсон и Далила (Пленение Самсона) | ок. 1628-1630 | Доска, масло | 61.3 x 50.1 см | ![]() |
37 | |
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David Playing the Harp for King Saul | c. 1630 | Доска, масло | 62 x 50 см | ![]() |
38 | The painting is poorly preserved in the thinner areas. |
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Плач Иеремии по разрушенному Иерусалиму | 1630 | Доска, масло | 58.3 x 46.6 см | ![]() |
39 | |
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St. Peter in Prison | 1631 | Доска, масло | 59.1 x 47.8 см | Israel Museum, Jerusalem | 40 | |
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Andromeda | c. 1630 | Доска, масло | 34.5 x 25 см | ![]() |
41 | The painting has been cropped on all sides. |
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The Good Samaritan | 1630 | Доска, масло | 24.2 x 19.8 см | ![]() |
42 | |
Bust of an Old Man Wearing a Fur Cap | 1629 | Доска, масло | 22.2 x 17.7 см | Tyrolean State Museum, Innsbruck | 43 | ||
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Oil Study of an Old Man | 1630 | Доска, масло | 24.3 × 20.3 см | ![]() |
44 | |
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Oil Study of an Old Man | c. 1630 | Доска, масло | 19.5 × 16 см | ![]() |
45 | |
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Bust of an Old Man | c. 1630 | Доска, масло | 46.9 x 38.8 см | ![]() |
46 | |
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Simeon in the Temple | 1631 | Доска, масло | 60.9 x 47.9 см | ![]() |
47 | |
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Воскрешение Лазаря | ок. 1630-1632 | Доска, масло | 96.2 x 81.5 см | ![]() |
48 | The panel was originally taller. |
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The Abduction of Proserpina | c. 1631 | Доска, масло | 84.8 x 79.7 см | ![]() |
49 | The panel, which was originally taller, must have been cropped at top and bottom. An ultramarine blue sky was discovered under a greyish overpainting and taken to be the original sky. |
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The Rape of Europa | 1632 | Доска, масло | 62.2 x 77 см | J. Paul Getty Museum, Los Angeles | 50 | |
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Читающая старуха (Пророчица Анна) | 1631 | Доска, масло | 59.8 x 47.7 см | ![]() |
51 | |
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Распятие | 1631 | Дерево, масло | 99.9 x 72.6 см | ![]() |
52 | |
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The Artist in an Oriental Costume, with a Poodle at his Feet | 1631 | Доска, масло | 66.5 x 52 см | Petit Palais, Paris | 53 | The dog added in late 1632 or early 1633 |
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Minerva in her Study | c. 1631 | Доска, масло | 60.5 x 49 см | ![]() |
54 | |
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Bust of an Old Man with a Cap and Gold Chain | c. 1631 | Доска, масло | 59.9 x 51.1 см | частное собрание | 55 | |
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A Man Wearing a Gorget and Plumed Cap | c. 1631 | Доска, масло | 66 x 50.8 см | J. Paul Getty Museum, Los Angeles | 56 | |
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Bust of a Young Man Wearing a Plumed Cap | 1631 - c. 1635 | Холст, масло | 80.3 x 64.8 см | Toledo Museum of Art | 57 | |
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Half-figure of a Man Wearing a Gorget and Plumed Hat | 1631 | Доска, масло | 83.5 x 75.6 см | ![]() |
58 | The painting was originally 7 cm taller. |
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Portrait of Nicolaes Ruts | 1631 | Доска, масло | 116 x 87 см | Frick Collection, New York | 59 | |
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Portrait of a Man at a Writing Desk, possibly Jacob Bruyningh | 1631 | Холст, масло | 104.4 x 91.8 см | ![]() |
60 | The painting originally seems to have been 9 cm taller. |
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Portrait of a Couple in an Interior | 1632 | Холст, масло | 131.5 x 109 см | Stolen from the Isabella Stewart Gardner Museum, Boston | 61 | The painting must have been substantially reduced on the left, now showing only part of the original composition; the chair on the left is probably a later addition, apparently intended to balance the composition on this side when the canvas was reduced. |
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Portrait of a Man | 1632 | Доска, масло | 90.8 x 68.57 см | Kunsthistorisches Museum, Vienna | 62a | Companion piece to 62b |
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Portrait of a Woman | 1632 | Доска, масло | 90 x 68 см | Kunsthistorisches Museum, Vienna | 62b | Rembrandt and (mainly) workshop. Companion piece to 62a |
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Portrait of a Man | 1632 | Холст, масло | 112 x 89 см | ![]() |
63a | Companion piece to 63b |
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Portrait of a Woman | 1632 | Холст, масло | 112.5 x 88.8 см | ![]() |
63b | Rembrandt and (mainly) workshop. Companion piece to 63a. The woman’s left hand, which originally hung in a lower position, and the table on which it now rests, are probably executed by Rembrandt himself. |
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Portrait of a Man Trimming his Quill | 1632 | Холст, масло | 101.5 x 81.5 см | ![]() |
64a | Companion piece to 64b |
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Portrait of a Woman Seated | 1632 | Холст, масло | 92 x 71 см | ![]() |
64b | Rembrandt (and workshop?) Companion piece to 64a. The painting was cropped on all sides. |
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Portrait of Princess Amalia van Solms | 1632 | Холст, масло | 69.5 x 54.4 см | ![]() |
65b | Companion piece to 65a: G. van Honthorst, Portrait of Prince Frederik Hendrik of Orange, 1631. The Hague, Huis ten Bosch (Dutch Royal Collection). The two paintings must originally have had identical surrounds. At a later stage 65b was cropped on all sides. The face has suffered from surface wear. |
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Self-portrait as a Burger | 1632 | Доска, масло | 64.4 x 47.6 см | Burrell Collection, Glasgow | 66 | |
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Portrait of Maurits Huygens | 1632 | Доска, масло | 31.1 x 24.5 см | Hamburger Kunsthalle | 67 | |
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Портрет Якоба де Гейна III | 1632 | Доска, масло | 29.9 x 24.9 см | ![]() |
68 | |
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Self-portrait | 1632 | Доска, масло | 21.8 x 16.3 см | частное собрание | 69 | |
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Portrait of Joris de Caullery | 1632 | Oil, canvas on panel | 102.5 x 83.8 см | Fine Arts Museums of San Francisco | 70 | |
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Portrait of a Young Man | 1632 | Доска, масло | 63 x 46 см | Suermondt-Ludwig-Museum, Aachen | 71 | |
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Portrait of Marten Looten | 1632 | Доска, масло | 92.8 x 74.9 см | ![]() |
72 | |
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Portrait of a 40-year-old Man | 1632 | Доска, масло | 75.6 x 52.1 см | ![]() |
73 | |
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Portrait of a 39-year-old Woman | 1632 | Доска, масло | 74.5 x 55 см | Nivaagaards Malerisamling | 74 | The hand and the booklet were added by another painter. |
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Portrait of a 62-year-old Woman, possibly Aeltje Pietersdr Uylenburgh | 1632 | Доска, масло | 73.5 x 55 см | частное собрание | 75 | |
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Урок анатомии доктора Тульпа | 1632 | Холст, масло | 169.5 x 216.5 см | ![]() |
76 | |
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Portraits of Jean Pellicorne and his Son Casper | 1632 | Холст, масло | 155 x 123 см | ![]() |
77a | Rembrandt and (almost entirely) workshop. Companion piece to 77b |
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Portraits of Susanna van Collen and her Daughter Anna | 1632 | Холст, масло | 153 x 121 см | ![]() |
77b | Rembrandt and (in the main parts) workshop. Companion piece to 77a |
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Bust of a Young Woman | 1632 | Доска, масло | 60.6 x 45 см | частное собрание | 78 | |
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Bust of a Young Woman in a Cap | 1632 | Холст, масло mounted on panel | 60.6 x 45 см | частное собрание | 79 | Originally rectangular and larger on all sides. |
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Half-figure of a Young Woman in Profile with a Fan | 1632 | Холст, масло | 72.5 x 54.8 см | ![]() |
80 | Reduced on all sides. |
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Bearded Old Man | 1632 | Доска, масло | 66.5 x 51 см | Fogg Museum, Cambridge | 81 | |
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Study of an Old Man with a Gold Chain | 1632 | Доска, масло | 59 x 46.5 см | ![]() |
82 | |
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The Apostle Peter | 1632 | Холст, масло | 81.3 x 66.2 см | ![]() |
83 | |
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Knee-length Figure of a Man in an Oriental Dress (‘The Noble Slav’) | 1632 | Доска, масло | 152.7 x 111.1 см | ![]() |
84 | |
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A Scholar Near a Window (a study in ‘kamerlicht’) | 1631 | Доска, масло | 60.8 x 47.3 см | ![]() |
85 | |
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Interior with a Window and a Winding Staircase (a study in ‘kamerlicht’) | 1632 | Доска, масло | 28.2 x 34.4 см | ![]() |
86 | The painting is covered with such a heavy layer of yellowed
varnish that a figure of a woman on the stairs can scarcely be distinguished. |
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Portrait of a Man | 1638 | Доска, масло | 63.5 x 47.3 см | Herzog Anton Ulrich Museum, Braunschweig | 87a | Companion piece to 87b |
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Portrait of a Woman | 1638 | Доска, масло | 63 x 48 см | Herzog Anton Ulrich Museum, Braunschweig | 87b | Companion piece to 87a |
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Portrait of a Man Rising from his Chair | 1633 | Холст, масло | 124 x 98.5 см | Taft Museum of Art, Cincinnati | 88a | Rembrandt and (perhaps) workshop. Companion piece to 88b |
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Portrait of a Young Woman with a Fan | 1633 | Холст, масло | 126.2 x 100.5 см | ![]() |
88b | Companion piece to 88a |
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Portrait of Jan Rijcksen and his Wife Griet Jans | 1633 | Холст, масло | 111 x 166 см | ![]() |
89 | |
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Portrait of Johannes Wtenbogaert | 1633 | Холст, масло | 123 x 105 см | ![]() |
90 | Rembrandt and workshop. The hands seem to be painted by a member of the workshop. |
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Portrait of Man | 1633 | Холст, масло | 128.5 x 100.5 см | ![]() |
91 | Rembrandt and/or workshop? Originally this portrait was probably full size. |
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Portrait of a Man Wearing a Red Doublet | 1633 | Доска, масло | 63.5 x 50.5 см | частное собрание | 92 | |
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Portrait of a Young Woman | 1633 | Доска, масло | 63.5 x 47.5 см | Museum of Fine Arts, Houston | 93 | |
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Bust of Saskia Smiling | 1633 | Доска, масло | 52.5 x 44 см | ![]() |
94 | |
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Half-length Portrait of Saskia van Uylenburgh | c. 1633-1642 | Доска, масло | 99.5 x 78.8 см | ![]() |
95 | An 18th-century document provides evidence that the painting originally measured c. 128 x 104.5 cm and was rounded above. |
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Self-portrait with Gold Chain | 1633 | Доска, масло | 61 x 48.1 см | ![]() |
96 | |
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Self-portrait with Beret and Gold Chain | 1633 | Доска, масло | 70.4 x 54 см | ![]() |
97 | |
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Bust of Young Woman | 1633 | Доска, масло | 65 x 48 см | ![]() |
98 | |
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Man in Oriental Costume | c. 1633-1634 | Холст, масло | 98 x 74 см | ![]() |
99 | Rembrandt and pupil(?). This work was probably larger on all sides. |
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A Young Woman (Esther? Judith?) at her Toilet | 1633 | Холст, масло | 110.5 x 94.3 см | National Gallery of Canada, Ottawa | 100 | |
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Bellona | 1633 | Холст, масло | 127 x 97.5 см | ![]() |
101 | |
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Daniel Refuses to Worship the Idol Baal | 1633 | Доска, масло | 23.4 x 30.1 см | J. Paul Getty Museum, Los Angeles | 102 | |
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A Bust of an Old Man | 1633 | Grisaille, paper on panel | 10.6 x 7.2 см | частное собрание | 103 | |
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Bust of a Man in Oriental Dress | 1633 | Доска, масло | 85.8 x 63.8 см | ![]() |
104 | |
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Christ in the Storm on the Sea of Galilee | 1633 | Холст, масло | 160 x 128 см | Stolen from the Isabella Stewart Gardner Museum, Boston | 105 | |
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The Raising of the Cross | 1633 | Холст, масло | 95.7 x 72.2 см | ![]() |
106 | Part of the Passion series for Frederik Hendrik |
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The Descent from the Cross | 1632/1633 | Доска, масло | 89.6 x 65 см | ![]() |
107 | Part of the Passion series for Frederik Hendrik |
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Joseph Telling his Dreams | 1634 | Grisaille, paper stuck on card | 55.8 x 39.7 см | ![]() |
108 | Made in preparation for an unfinished printed Passion series |
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The Adoration of the Magi | 1633 | Grisaille, paper stuck on card(?) | 44.8 x 39.1 см | ![]() |
109 | Made in preparation for an unfinished printed Passion series |
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John the Baptist Preaching | c. 1633/1634 | Grisaille, canvas (enlarged) stuck on panel | 62.7 x 81.1 см | ![]() |
110 | |
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Christ and his Disciples in Gethsemane | 1634 | Drawing on paper. Pen and brown ink with brown and other washes and red and black chalk | 35.7 x 48.8 см | Teylers Museum, Haarlem | 111 | Although executed with drawing materials on paper, in view of its presumed function this work is counted here among Rembrandt’s grisailles in preparation for an unfinished printed Passion series |
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Ecce Homo | 1634 | Grisaille, paper on canvas | 54.5 x 44.5 см | ![]() |
112 | Grisaille in preparation for an unfinished printed Passion series |
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The Lamentation | c. 1633/1634 | Grisaille, paper on canvas; enlarged by another hand on a panel measuring 31.9 x 26.7 см | 31.9 x 26.7 см | ![]() |
113 | Grisaille may be fragment of the planned Passion series |
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The Entombment | 1633/1634 | Grisaille, panel | 32.1 x 40.3 см | Hunterian Museum and Art Gallery, Glasgow | 114 | Grisaille may be fragment of the planned Passion series |
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Portrait of a Young Bachelor | 1634 | Доска, масло | 70 x 52 см | ![]() |
115 | The painting is covered by a layer of yellowed varnish. |
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Portrait of an 83-year Old Woman (possibly Aechje Claesdr, mother of Dirck Jansz Pesser) | 1634 | Доска, масло | 68.7 x 53.8 см | ![]() |
116 | |
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Portrait of Dirck Jansz Pesser | 1634 | Доска, масло | 71 x 53 см | ![]() |
117a | Companion piece to 117b |
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Portret of van Haesje Jacobsdr van Cleyburgh | 1634 | Доска, масло | 71 x 53 см | ![]() |
117b | Companion piece to 117a |
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Portrait of a Man in a Broad-brimmed Hat | 1634 | Доска, масло | 70 x 53 см | ![]() |
118a | Rembrandt and mainly workshop. Companion piece to 118b |
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Portrait of a Woman | 1634 | Доска, масло | 69.5 x 53 см | ![]() |
118b | Companion piece to 118a |
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Portrait of a 41-year-old Man, possibly Pieter Sijen | 1633 | Доска, масло | 69.3 x 54.8 см | ![]() |
119a | Companion piece to 119b |
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Portrait of a 40-year-old Woman, possibly Marretje Cornelisdr van Grotewal | 1634 | Доска, масло | 69 x 55 см | Speed Art Museum, Louisville | 119b | Companion piece to 119a |
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Portrait of Marten Soolmans | 1634 | Холст, масло | 207 x 132.5 см | частное собрание | 120a | Companion piece to 120b |
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Portrait of Oopjen Coppit | 1634 | Холст, масло | 207 x 132 см | частное собрание | 120b | Companion piece to 120a |
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Portrait of Reverend Johannes Elison | 1634 | Холст, масло | 173 x 123 см | ![]() |
121a | Companion piece to 121b |
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Portrait of Maria Bockenolle | 1634 | Холст, масло | 174.5 x 123 см | ![]() |
121b | Companion piece to 121a |
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Oval Self-portrait with Shaded Eyes | 1634 | Доска, масло | 70.8 x 55.2 см | Wynn Collection, Las Vegas | 122 | |
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Self-portrait in a Cap and Fur-trimmed Cloak | 1634 | Доска, масло | 58.3 x 47.5 см | ![]() |
123 | The painting is covered by a layer of yellowed varnish. |
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Cupid Blowing a Soap Bubble | 1634 | Холст, масло | 75 x 92.62 см | Liechtenstein Museum, Vienna | 124 | |
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Саския в образе Флоры | 1634 | Холст, масло | 125 x 101 см | ![]() |
125 | |
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The Descent from the Cross | 1634 | Холст, масло | 159.3 x 116.4 см | ![]() |
126 | |
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The Incredulity of Thomas | 1634 | Доска, масло | 53 x 50 см | ![]() |
127 | |
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Sophonisba Receiving the Poisoned Cup | 1634 | Холст, масло | 142 x 153 см | Museo del Prado, Madrid | 128 | |
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A Scholar, Seated at a Table with Books | 1634 | Холст, масло | 145 x 134 см | National Gallery in Prague | 129 | |
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Diana Bathing with her Nymphs, with the Stories of Actaeon and Callisto | 1634 | Доска, масло | 73.5 x 93.5 см | Museum Wasserburg, Anholt | 130 | |
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The Flight into Egypt | 1634 | Доска, масло | 52 x 40.1 см | частное собрание | 130A | |
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The Holy Family | 1634 | Холст, масло | 195 x 132 см | ![]() |
131 | The painting was originally probably wider than it is today. |
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Portrait of Philips Lucasz | 1635 | Доска, масло | 79.5 x 58.9 см | ![]() |
132a | Rembrandt and workshop. Companion piece to 132b |
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Portrait of Petronella Buys | 1635 | Доска, масло | 78.8 x 65.3 см | Whereabouts unknown | 132b | Rembrandt and workshop. Companion piece to 132a |
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Portrait of a Man in a Slouched Hat and Bandoleer | 1635 | Холст, масло | 78.5 x 65.7 см | Kawamura Memorial DIC Museum of Art, Sakura | 133a | Rembrandt and/or workshop. Companion piece to 133b. The painting suffered severely when it was transferred from panel to canvas in 1929 and also from overcleaning. Originally rectangular and possibly also larger below. |
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Portrait of a Young Woman | 1635 | Доска, масло | 78 x 65 см | Cleveland Museum of Art | 133b | Rembrandt and mainly workshop. Companion piece to 133a. The painting has suffered severely from overcleaning. Originally rectangular and possibly also larger below. |
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Half-length Figure of Rembrandt or Autograph Self-portrait? | 1635 | Холст, масло | 90.5 x 71.8 см | ![]() |
134 | Rembrandt (and workshop?) |
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Блудный сын в таверне | 1635 | Холст, масло | 161 x 131 см | ![]() |
135 | The reconstruction of the stretcher on the basis of the X-ray shows just how much the painting was reduced in size. The paint surface of the lower part of the remaining fragment suffered badly, such that it had to be repainted. |
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Abraham's Sacrifice | 1635 | Холст, масло | 193.5 x 132.8 см | ![]() |
136 | The painting is covered by a layer of yellowed varnish. |
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The Rape of Ganymede | 1635 | Холст, масло | 177 x 130 см | ![]() |
137 | |
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Flora | 1635 | Холст, масло | 123.5 x 97.5 см | ![]() |
138 | |
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Minerva | 1635 | Холст, масло | 137 x 116 см | Gallery Otto Naumann, New York | 139 | |
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Samson Threatening his Father-in-law | c. 1635 | Холст, масло | 159 x 131 см | ![]() |
140 | |
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Bust of a Man in Oriental Dress | 1635 | Доска, масло | 72 x 54.5 см | ![]() |
141 | |
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Bust of a Bearded Old man in Fanciful Costume | 1635 | Доска, масло | 72.5 x 62.1 см | ![]() |
142 | |
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Belshazzar’s Feast | 1635 | Холст, масло | 167.6 x 209.2 см | ![]() |
143 | On the basis of the pattern of cusping, it may be concluded that the painting was tilted to the left by later hands and cut to shape accordingly. This is also apparent from the edge of the table and the stream of wine poured from the jug by the woman on the right. |
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Susanna Bathing | 1636 | Доска, масло | 47.2 x 38.6 см | ![]() |
144 | |
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The Ascension | 1636 | Холст, масло | 93 x 68.7 см | ![]() |
145 | Part of the Passion series for Frederik Hendrik |
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Self-portrait Transformed into a ‘tronie’ | c. 1633-1636 | Доска, масло | 56 x 47 см | ![]() |
146 | |
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The Standard-Bearer | 1636 | Холст, масло | 118.8 x 96.8 см | Collection of Elie de Rothschild, Paris | 147 | |
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The Blinding of Samson | 1636 | Холст, масло | 205 x 272 см | ![]() |
148 | |
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Даная | c. 1636 - c. 1643 | Холст, масло | 185 x 203 см | ![]() |
149 | The painting was very badly damaged in 1985. |
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The Angel Raphael Leaving Tobit and his Family | 1637 | Доска, масло | 66 x 52 см | ![]() |
150 | |
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The Parable of the Labourers in the Vineyard | 1637 | Доска, масло | 31 x 42 см | ![]() |
151 | The paint of the figures to the right have suffered from blanching. |
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River Landscape with Ruins | c. 1637 - c. 1645 | Доска, масло | 67 x 87.5 см | ![]() |
152 | The mill together with its immediate surroundings was originally placed in a flat Dutch landscape. Rembrandt transformed it into classical mountainous landscape around 1645. |
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The Concord of the State | 1637 | Доска, масло | 74.6 x 101 см | Museum Boijmans Van Beuningen, Rotterdam | 153 | Grisaille serving as a design for a political print which was never realized |
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Self-portrait | 1637 | Доска, масло | 64 x 49 см | ![]() |
154 | The painting originally was larger (c. 75 x 55 cm ) and rectangular. The upper corners of the background are digitally reconstructed. |
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Man in Russian Costume | 1637 | Доска, масло | 96.7 x 66.1 см | ![]() |
155 | |
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Portrait of the Preacher Eleazar Swalmius | 1637 | Холст, масло | 132 x 109 см | Royal Museum of Fine Arts Antwerp | 156 | |
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Bust of a Man with Plumed Cap | 1637 | Доска, масло | 62.5 x 47 см | ![]() |
157 | |
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The Risen Christ Appearing to Mary Magdalene | 1638 | Доска, масло | 61 x 49.5 см | ![]() |
158 | |
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Landscape with the Good Samaritan | 1638 | Доска, масло | 46.5 x 66 см | Czartoryski Museum, Kraków | 159 | |
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The Wedding of Samson | 1638 | Холст, масло | 126 x 175 см | ![]() |
160 | |
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Woman with a Mirror | 1638 | Доска, масло | 23.9 x 32.5 см | ![]() |
161 | |
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The Entombment | 1635-1639 | Холст, масло | 92.6 x 68.9 см | ![]() |
162 | Part of the Passion series for Frederik Hendrik |
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The Resurrection | 1639 | Холст, масло | 92.9 x 67 см | ![]() |
163 | Part of the Passion series for Frederik Hendrik |
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King Uzziah Stricken with Leprosy | c. 1639/1640 | Доска, масло | 102.8 x 78.8 см | Chatsworth House | 164 | Covered with a disturbing layer of yellowed varnish. The dark
patches in Uzziah’s face are probably painted indications of his leprosy. |
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Two Dead Peacocks and a Girl | 1639 | Холст, масло | 145 x 135.5 см | ![]() |
165 | |
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A Dead Bittern | 1639 | Доска, масло | 120.7 x 88.3 см | ![]() |
166 | The painting is covered by a layer of yellowed varnish. |
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Portrait of a Man Holding a Hat | c. 1640 | Доска, масло | 81.4 x 71.4 см | Hammer Museum, Los Angeles | 167 | The panel has been trimmed on all sides. It belonged to a batch of equally large poplar panels, which makes it possible to speculate about the original size of the painting. |
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Portrait of a Man Standing, possibly Andries de Graeff | 1639 | Холст, масло | 200 x 124.2 см | ![]() |
168 | |
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Portrait of Aletta Adriaensdr | 1639 | Доска, масло | 64.7 x 55.3 см | Museum Boijmans Van Beuningen, Rotterdam | 169 | The heavily damaged fingers were reconstructed during a restoration in the 1960s. |
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Self-portrait | 1640 | Доска, масло | 80.5 x 62.8 см | ![]() |
170 | Rembrandt and workshop? Adaption of an earlier self-portrait. |
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Bust of Young Woman | c. 1640 | Доска, масло | 60.5 x 49 см | ![]() |
171 | |
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Self-portrait | c. 1639 | Доска, масло | 63 x 50.1 см | ![]() |
172 | |
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The Holy Family with St Anne | 1640 | Доска, масло | 40.6 x 34 см | ![]() |
173 | The painting is covered by a layer of yellowed varnish. |
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The Visitation | 1640 | Доска, масло | 56.5 x 47.8 см | Detroit Institute of Arts | 174 | |
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Каменный мост | ок. 1638/1640 | Холст, масло | 29.5 x 42.5 см | ![]() |
175 | |
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Mountain Landscape with Approaching Storm | 1640 | Доска, масло | 52 x 72 см | Herzog Anton Ulrich Museum, Braunschweig | 176 | |
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Portrait of Herman Doomer | 1640 | Доска, масло | 75.2 x 55.3 см | ![]() |
177a | Companion piece to 177b |
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Portrait of Baertje Martens | 1640 | Доска, масло | 75.1 x 55.9 см | ![]() |
177b | Companion piece to 177a |
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Автопортрет | ок. 1640 | Доска, масло | 72.2 x 58.3 см | Thyssen-Bornemisza Museum, Madrid | 178 | The panel was slightly cropped later; the roughly blocked out hand was revealed during a restoration. Originally it must have been painted out by Rembrandt himself. |
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Автопортрет | 1640 | Холст, масло | 93 x 80 см | ![]() |
179 | |
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Portrait of a Woman, possibly Anna Wijmer | 1641 | Доска, масло | 99.5 x 81.5 см | Six Foundation, Amsterdam | 180 | |
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Saskia as a Flora | 1641 | Доска, масло | 98.5 x 82.5 см | ![]() |
181 | The paint is covered by a disturbing yellowed layer of varnish. |
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Oil Study of a Woman Lit Obliquely from Behind | 1640 | Доска, масло | 46.5 x 37.5 см | частное собрание | 182 | |
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Portrait of the Mennonite Preacher Cornelius Claesz Anslo and his Wife Aaltje Gerritsdr Shouten | 1641 | Холст, масло | 176 x 210 см | ![]() |
183 | |
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Портрет Марии Трип | 1641(?) | Холст, масло | 107 x 82 см | ![]() |
184b | Rembrandt and the painter of 184a. Companion piece to 184a: Rembrandt workshop, Portrait of a man (Balthasar Coymans?). 1641 (?). Private collection |
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A Scholar at a Writing Desk | 1641 | Доска, масло | 104 × 76 см | ![]() |
185 | |
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Girl in Fanciful Costume in a Picture Frame | 1641 | Доска, масло | 104 x 76 см | ![]() |
186 | |
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Portrait of Nicolas van Bambeeck in a Picture Frame | 1641 | Холст, масло | 108.8 x 83.3 см | Royal Museums of Fine Arts of Belgium, Brussels | 187a | Companion piece to 187b |
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Portrait of Agatha Bas in a Picture Frame | 1641 | Холст, масло | 104 x 82 см | ![]() |
187b | Companion piece to 187a |
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David’s Parting from Jonathan | 1642 | Доска, масло | 73 x 61 см | ![]() |
188 | |
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Self-Portrait | 1642 | Доска, масло | 69.9 x 58.4 см | ![]() |
189 | The costume and the hand are largely overpainted by a much later hand. |
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Ночной дозор (картина) | 1642 | Холст, масло | 363 x 438 см | ![]() |
190 | Actually: ‘The painting in the great hall of the Kloveniers Doelen in which the young Lord of Purmerland [Frans Banninck Cocq] as Captain, gives the order to his Lieutenant, the Lord of Vlaerdingen [Willem van Ruytenburgh] to march off his Company of Citizens’, as the painting is called in the family album of Frans Banninck Cocq. The painting has been cropped on all four sides. |
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Portrait of a Man with a Hawk | 1643 | Холст, масло | 114 x 97.3 см | частное собрание | 191a | Rembrandt and workshop. Companion piece to 191b |
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Portrait of a Woman with a Fan | 1643 | Холст, масло | 114.5 x 98 см | частное собрание | 191b | Rembrandt and (mainly) workshop. Companion piece to 191a |
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An Old Man in Rich Costume (Boaz?) | 1643 | Доска, масло | 72.5 x 58.5 см | Woburn Abbey | 192 | Possibly companion piece to 193. The series of curved cracks in the panel and paintlayer are typical for paintings on mahogany panels. |
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Bust of a Woman (Ruth?) | 1643 | Доска, масло | 72 x 59 см | ![]() |
193 | Possibly companion piece to 192. The darker parts of the costume were originally lighter and more colourful. |
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Sarah Waiting for Tobias | 1643 | Холст, масло | 81.2 x 67.9 см | National Gallery of Scotland, Edinburgh | 194 | |
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Portrait of a Man with a Steel Gorget | 1644 | Холст, масло | 94.3 x 77.8 см | ![]() |
195 | Cropped along the bottom edge. |
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Christ and the Woman Taken in Adultery | 1644 | Доска, масло | 83.8 x 65.4 см | ![]() |
196 | |
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A Weeping Woman | c. 1644 | Доска, масло | 21.3 x 16.8 см | Detroit Institute of Arts | 197 | Oil sketch in preparation for 196 |
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The Holy Family with Angels | 1645 | Холст, масло | 117 x 91 см | ![]() |
198 | Strips of canvas of considerable width are missing on the side and top edges. |
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Self-portrait with Beret and Red Cloak | c. 1645/1648 | Доска, масло | 73.5 x 59.6 см | Staatliche Kunsthalle Karlsruhe | 199 | The size of this painting has been altered several times, as has its format (from rectangular to oval to rectangular to oval again). |
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Girl Leaning on a Stone Window Sill | 1645 | Холст, масло | 81.6 x 66 см | ![]() |
200 | |
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Tobit and Anna | 1645 | Доска, масло | 20 x 27 см | ![]() |
201 | |
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Joseph's Dream in the Stable at Bethlehem | 1645 | Доска, масло | 20.7 x 27.8 см | ![]() |
202 | |
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Old Man with Fur Coat | 1645 | Доска, масло | 110 x 82 см | ![]() |
203 | The painting was probably cropped on all sides. It may well have had the same size as 204. |
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Old Man with a Stick | 1645 | Холст, масло | 128 x 112 см | Museu Calouste Gulbenkian, Lisbon | 204 | |
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Landscape with a Castle | 1645 | Доска, масло | 44.5 x 70 см | ![]() |
205 | Unfinished |
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The Mill | c. 1645 | Холст, масло | 87.6 x 105.6 см | ![]() |
206 | In the painting in its present state the mill is tilted forward. |
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Winter Landscape | 1646 | Доска, масло | 17 x 23 см | ![]() |
207 | |
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Abraham Serving the Three Angels | 1646 | Доска, масло | 16 x 21 см | частное собрание | 208 | |
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The Holy Family with Painted Frame and Curtain | 1646 | Доска, масло | 46.8 x 68.4 см | ![]() |
209 | Rembrandt or pupil. The painting is covered by a layer of yellowed varnish. |
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The Prophetess Anna in the Temple | 1650 or c. 1646 | Доска, масло | 40.5 x 31.5 см | National Gallery of Scotland, Edinburgh | 210 | The painting is covered by a layer of yellowed varnish. |
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The Nativity | 1646 | Холст, масло | 92 x 71 см | ![]() |
211a | Part of the Passion series for Frederik Hendrik. 211b. Studio copy after a lost Circumcision (which was part of the Passion series for Frederik Hendrik), in or after 1646. Braunschweig, Herzog Anton Ulrich Museum |
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Saul and David | c. 1645 and c. 1652 | Холст, масло | 130 x 164.5 см | ![]() |
212 | The painting originally was considerable larger. A vertical strip, wide c. 20 cm is missing to the left of David’s harp. Along the bottom the painting was c. 18 cm larger. The top right square piece of canvas above David was replaced by a fragment of a seventeenth century painting and overpainted. |
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Susanna and the Elders | c. 1638-1647 | Доска, масло | 76.6 x 92.8 см | ![]() |
213 | The painting is covered by a layer of yellowed varnish. |
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Nocturnal Landscape with the Holy Family | 1647 | Доска, масло | 33.8 x 47.8 см | National Gallery of Ireland, Dublin | 214 | |
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Preparatory Oil Sketch for the Etched Portrait of Dr Ephraim Bueno | c. 1647 | Доска, масло | 19 x 15 см | ![]() |
215 | |
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Portrait of a Man Reading by Candlelight | 1648 | Холст, масло | 66.5 x 58 см | Clark Art Institute, Williamstown | 216 | |
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Oil Study of Christ | c. 1648 | Доска, масло | 25 x 20 см | ![]() |
217a | Rembrandt or pupil. Companion piece to 217b |
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Oil Study of Christ | 1648 | Доска, масло | 25.5 x 20.1 см | частное собрание | 217b | Rembrandt or pupil. Companion piece to 217a |
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The Supper at Emmaus | 1648 | Доска, масло | 68 x 65 см | ![]() |
218 | The panel, whose grain runs horizontally, may have extended further on the left where there could have been a window. |
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Christ Appearing to Mary Magdalene, ‘Noli me tangere’ | 1650 or slightly later | Холст, масло | 65 x 79 см | Herzog Anton Ulrich Museum, Braunschweig | 219 | The painting is in an extremely bad condition and shows disturbing
blanching in places. |
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Girl at a Window | 1651 | Холст, масло | 78 x 63 см | ![]() |
220 | |
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An Old Man in an Armchair | 1652 | Холст, масло | 111 x 88 см | ![]() |
221 | |
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An Old Man in Fanciful Costume | 1651 | Холст, масло | 78.5 x 67.5 см | Chatsworth House | 222 | The painting was originally taller. It is covered by a disturbing layer of yellowed varnish. |
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Hendrickje with Fur Wrap | c. 1652 | Холст, масло | 103.3 x 86.5 см | ![]() |
223 | |
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The So-called Large Vienna Self-portrait with Beret | 1652 | Холст, масло | 112.1 x 81 см | Kunsthistorisches Museum, Vienna | 224 | The painting has been cropped both at top left and bottom. It is covered by a disturbing layer of yellowed varnish. |
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Portrait of a Man | c. 1651 | Холст, масло | 92.5 x 73.5 см | Faringdon Collection, Oxfordshire | 225 | |
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Portrait of Nicolaes Bruyningh | 1652 | Холст, масло | 106.8 × 91.5 см | ![]() |
226 | The painting is covered by a layer of yellowed varnish. |
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Half-figure of a Bearded Man with Beret | c. 1653 | Холст, масло | 78 x 66.5 см | ![]() |
227 | |
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Аристотель с бюстом Гомера | 1653 | Холст, масло | 141.8 x 134.4 см | ![]() |
228 | The painting was larger at both top and bottom. The original proportions of the canvas were 4:3. |
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A Woman Wading in a Pool (Callisto in the Wilderness) | 1654 | Доска, масло | 61.8 x 47 см | ![]() |
229 | |
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Oil Study of an Old Man with a Red Hat | c. 1654 | Холст, масло | 52.4 x 37 см | ![]() |
230 | The painting is covered by a disturbing layer of darkened varnish. |
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Bathsheba at her Toilet | 1654 | Холст, масло | 142 x 142 см | ![]() |
231 | The canvas was originally considerably higher and wider at the left. Strips are missing from the bottom and right. In the process of changing the format of the painting the remaining part with the figures was slightly tilted to the left. |
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Woman at an Open Half-door | c. 1654 | Холст, масло | 88.5 x 67 см | ![]() |
232 | The painting is covered by a disturbing layer of yellowed varnish. |
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Portrait of Jan Six | 1654 | Холст, масло | 112 x 102 см | Six Foundation, Amsterdam | 233 | |
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The Standard-Bearer (Floris Soop) | 1654 | Холст, масло | 138 x 113 см | ![]() |
234 | |
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Self-portrait | 1654 | Холст, масло | 72 x 58.5 см | ![]() |
235a | Companion piece to 235b |
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Portrait of Hendrickje Stoffels | ок. 1654 | Холст, масло | 72 x 60 см | ![]() |
235b | Companion piece to 235a |
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The Polish Rider | c. 1655 | Холст, масло | 116.8 x 134.9 см | Frick Collection, New York | 236 | Partly unfinished, locally completed by later hand. At least 8-10 cm of the canvas are missing at the right. Along the bottom a strip of c. 10 cm was lost at some stage and subsequently replaced by a reconstruction painted by the restorer William Suhr. |
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Joseph Accused by Potiphar’s Wife | 1655 | Холст, масло | 110 x 87 см | ![]() |
237 | With possible additions by another hand. The figure of Joseph and the left part of the pillow seem to have been added by a later hand on the basis of a rough underpainting
by Rembrandt. |
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Oil Sketch of an Old Man | c. 1655 | Доска, масло | 23 x 18 см | частное собрание | 238 | |
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Man in Armour | c. 1655 | Холст, масло | 137.5 x 104.5 см | Kelvingrove Art Gallery and Museum, Glasgow | 239 | The canvas has been enlarged on all four sides. |
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A Slaughtered ox | 1655 | Доска, масло | 95.5 x 69 см | ![]() |
240 | |
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Old Woman Reading (Study in Lighting Effects) | 1655 | Холст, масло | 79 x 65 см | Drumlanrig Castle, Thornhill | 241 | |
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Titus at a Desk | 1655(?) | Холст, масло | 77 x 63 см | Museum Boijmans Van Beuningen, Rotterdam | 242 | |
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Unfinished Portrait of a Boy | c. 1656 | Холст, масло | 65 x 56 см | ![]() |
243 | |
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Man with Beret and Tabard (a Falconer?) | 1656 | Холст, масло | 115 x 88.3 см | Toledo Museum of Art | 244 | The painting must originally have extended considerably further to the right. |
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Jacob Blessing the Children of Joseph | 1656 | Холст, масло | 175 x 210.5 см | ![]() |
245 | |
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The Anatomy Lesson of Dr. Jan Deyman | 1656 | Холст, масло | 100 x 134 см | ![]() |
246 | Fragment that survived a fire. Blisters and traces of other fire-damage are still visible along the upper edge and in the hands of the dissector, Dr Deyman. |
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Young Man Seated at a Table | c. 1656 | Холст, масло | 109.9 x 89.5 см | ![]() |
247 | |
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Portrait of a Gentleman with a Pair of Gloves | c. 1656 | Холст, масло | 99.5 x 82.5 см | ![]() |
248a | Companion piece to 248b. The painting (and its companion piece) seems to be a fragment of a full-size portrait. |
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Portrait of a Lady with an Ostrich Feather Fan | c. 1656 | Холст, масло | 99.5 x 83 см | ![]() |
248b | Companion piece to 248a |
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Portrait of a Man, possibly Arnout Tholincx | 1656 | Холст, масло | 76 x 63 см | ![]() |
249 | |
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Portrait of poet Jeremias de Decker | 1656 | Доска, масло | 71 x 56 см | ![]() |
250 | |
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Venus and Cupid | c. 1657 | Холст, масло | 110 x 88 см | ![]() |
251 | Possibly part of a tripartite series with 252 and 253. The canvas has been cropped on all sides. |
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Juno | c. 1657-1665 | Холст, масло | 127 x 106 см | Hammer Museum, Los Angeles | 252 | Possibly part of a tripartite series with 251 and 253 |
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Pallas Athene | c. 1657 | Холст, масло | 118 x 91 см | Museu Calouste Gulbenkian, Lisbon | 253 | Rembrandt and pupil. Possibly part of a tripartite series with 251 and 252. The canvas has been reduced at the left and bottom. |
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The Apostle Paul at his Writing Desk | 1657 | Холст, масло | 129 x 102 см | ![]() |
254 | Rembrandt and workshop. |
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The Apostle Bartholomew | 1657 | Холст, масло | 122.7 x 99.5 см | Timken Museum of Art, San Diego | 255 | |
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The So-called Small Vienna Self-portrait | c. 1657 | Доска, масло | 48.9 x 40.2 см | Kunsthistorisches Museum, Vienna | 256 | Serious overcleaning and related overpaintings are evident in the shaded part of the face and in the costume. The painting appears to be a fragment of a considerably larger self-portrait. |
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Portrait of Titus van Rijn | 1657 | Холст, масло | 67.3 x 55.2 см | ![]() |
257 | The figure may have been placed before a larger, rather lively background. |
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Portrait of Catrina Hooghsaet | 1657 | Холст, масло | 123.5 x 95 см | Penrhyn Castle, Gwynedd | 258 | |
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Portrait of an Unknown Scholar (also known as ‘The Auctioneer’) | 1658 | Холст, масло | 108 x 85 см | ![]() |
259 | |
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Preparatory Oil Sketch for the Etched Portrait of Lieven Willemsz van Coppenol | In or before 1658 | Доска, масло | 35.6 x 28 см | ![]() |
260 | See etching B283 |
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Portrait of a Man with Arms Akimbo | 1658 | Холст, масло | 107.4 x 87 см | частное собрание | 261 | |
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The Risen Christ | c. 1658 | Холст, масло | 81 x 64 см | ![]() |
262 | The painting was not originally oval. |
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Portrait of the Dyke Reeve Dirck van Os | c. 1658 | Холст, масло | 113.5 x 88.7 см | Joslyn Art Museum, Omaha | 263 | |
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Self-portrait | 1658 | Холст, масло | 131 x 102 см | Frick Collection, New York | 264 | |
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Philemon and Baucis | 1658 | Oil, transferred from panel to gauze and then stuck on a new panel | 54.5 x 68.5 см | ![]() |
265 | |
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Tobit and Anna | 1659 | Холст, масло | 41.8 x 54.6 см | Museum Boijmans Van Beuningen, Rotterdam | 266 | |
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Moses Smashes the Stone Tablets with the Covenant | 1659 | Холст, масло | 168.5 x 136.5 см | ![]() |
267 | Unfinished |
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Jacob Wrestling with the Angel | c. 1659 | Холст, масло | 137 x 116 см | ![]() |
268 | The painting must have been cropped on all sides. A piece of the same canvas bearing Rembrandt’s signature is stuck on the lower right corner. Many of the contours have been strengthened by a later hand. |
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Posthumous Portrait of Saskia van Uylenburgh as Flora | ок. 1660 | Холст, масло | 100 x 91.8 см | ![]() |
269 | Rembrandt (and workshop?) |
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Portrait of a Man as the Apostle Paul | 1659 | Холст, масло | 102 x 85.5 см | ![]() |
270 | |
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Oil Sketch for 272 | ок. 1659 | Холст, масло | 68.5 x 55.5 см | ![]() |
271 | |
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‘Portrait Historié’ of an Unknown Gentleman as St Bavo | ок. 1659 | Холст, масло | 98.5 x 79 см | Gothenburg Museum of Art | 272 | |
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Self-portrait | 1657/1659 | Холст, масло | 50 x 42.5 см | National Gallery of Scotland, Edinburgh | 273 | |
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Self-portrait | 1659 | Холст, масло | 84.4 x 66 см | ![]() |
274 | |
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Self-portrait | c. 1659 | Холст, масло | 30.7 x 24.3 см | Musée Granet, Aix-en-Provence | 275 | Unfinished |
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Lighting Study with an Old Man as a Model | 1659 | Доска, масло | 38.1 x 26.8 см | Daniel and Linda Bader Collection, Milwaukee | 276 | |
Файл:Rembrandt - Lighting Study with Hendrickje Stoffels - 1659.jpg | Lighting Study with Hendrickje Stoffels in a Silk Gown as a Model | ок. 1659 | Доска, масло | 72.5 x 51.5 см | ![]() |
277 | A narrow strip is missing along the left side, a consequence of woodworm attack. The painting is covered with a yellowed varnish. |
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Hendrickje Stoffels | ок. 1660 | Холст, масло | 78.4 x 68.9 см | ![]() |
278 | The painting is in a badly overcleaned and abraded condition. |
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Titus van Rijn as St Francis | ок. 1660 | Холст, масло | 79.5 x 67.5 см | ![]() |
279 | |
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A Smiling Young Man (Titus) | 1660 | Холст, масло | 81.5 x 78.5 см | ![]() |
280 | |
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Self-portrait at an Easel | 1660 | Холст, масло | 110.9 x 90.6 см | ![]() |
281 | |
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Self-portrait | 1660 | Холст, масло | 81 x 67.6 см | ![]() |
282 | |
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Артаксеркс, Аман и Эсфирь | Between c. 1655 and 1665 | Холст, масло | 71.5 х 93 см | ![]() |
283 | |
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Отречение Петра | 1660 | Холст, масло | 154 x 169 см | ![]() |
284 | The canvas was reduced on the right. W286 was painted on part of the trimmed piece. |
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Lighting Study of an Old Man in Profile | c. 1661 | Доска, масло | 24.8 x 19.1 см | ![]() |
285 | Probably painted in preparation for 286 |
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The Circumcision in the Stable | 1661 | Холст, масло | 56.5 x 75 см | ![]() |
286 | |
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The Virgin of Sorrow | 1661 | Холст, масло | 107 x 81 см | Musée départemental d'Art ancien et contemporain, Epinal | 287 | |
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Titus Posing for a Study of an Angel | c. 1661 | Доска, масло | 40.6 x 34.9 см | Detroit Institute of Arts | 288 | Possibly painted in preparation for 289 |
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The Apostle St Matthew | 1661 | Холст, масло | 96 x 81 см | ![]() |
289 | Part of a series with 290-294 |
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The Apostle Bartholomew | 1661 | Холст, масло | 87.5 x 75 см | J. Paul Getty Museum, Los Angeles | 290 | Part of a series with 289, 291-294 |
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The Apostle Simon | 1661 | Холст, масло | 98.5 x 79 см | Kunsthaus Zürich | 291 | Part of a series with 289, 290 and 292-294 |
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The Apostle James the Greater | 1661 | Холст, масло | 92.1 x 74.9 см | Whereabouts unknown | 292 | Part of a series with 289-291 and 293, 294 |
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The Apostle James the Less | 1661 | Холст, масло | 94.5 x 81.5 см | ![]() |
293 | Part of a series with 289-292 and 294 |
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Self-portrait as the Apostle Paul | 1661 | Холст, масло | 93.2 x 79.1 см | ![]() |
294 | Part of a series with 289-293 |
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Two Negroes | 1661 | Холст, масло | 77.8 x 64.5 см | ![]() |
295 | The paint surface is severely worn. The painting has been cropped to the right and bottom. |
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The Small Margaretha de Geer | 1661 | Холст, масло | 73.5 x 60.7 см | ![]() |
296 | Sketch for 297b |
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Portrait of Jacob Trip | c. 1661 | Холст, масло | 130.5 x 97 см | ![]() |
297a | Companion piece to 297b |
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Portrait of Margaretha de Geer | c. 1661 | Холст, масло | 130.5 x 97 см | ![]() |
297b | Companion piece to 297a |
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Заговор Юлия Цивилиса | ок. 1661-1662 | Холст, масло | 196 x 309 см | ![]() |
298 | Fragment |
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Синдики | 1662 | Холст, масло | 191.5 x 279 см | ![]() |
299 | |
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Portrait of a Young Man | c. 1662 | Холст, масло | 80 x 64.7 см | Nelson-Atkins Museum of Art, Kansas City | 300 | |
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Homer Dictating his Verses | 1663 | Холст, масло | 108 x 82.4 см | ![]() |
301 | Made as part of a tripartite series with W228 and a lost Alexander the Great. In the right lower corner part of the manuscript, fingertips with pen and rim of the inkwell of a scribe. |
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Self-portrait as the Laughing Zeuxis while Painting an Old Woman | 1663 | Холст, масло | 82.5 x 65 см | Wallraf-Richartz Museum, Cologne | 302 | Cropped on all four sides; the upper left and right corners are later additions. |
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Equestrian Portrait of Frederick Rihel | 1663 | Холст, масло | 294.5 x 241 см | ![]() |
303 | Rembrandt and workshop. The horse is painted by a different painter, possibly Titus van Rijn. |
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Bust of a Bearded Young Man with a Skullcap | 1663 | Холст, масло | 65.8 x 57.5 см | Kimbell Art Museum, Fort Worth | 304 | |
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Portrait of a Woman with a Lapdog | ок. 1665 | Холст, масло | 81 x 64 см | ![]() |
305 | The originally more differentiated background is overpainted with black. |
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Old Man in an Armchair, possibly a portrait of Jan Amos Comenius | c. 1665 | Холст, масло | 104 x 86 см | ![]() |
306 | Covered with remnants of darkened varnish. |
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Titus Reading (study in direct and reflected light) | c. 1660/1665 | Холст, масло | 70.5 x 64 см | Kunsthistorisches Museum, Vienna | 307 | |
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Portrait of Gerard de Lairesse | 1665 | Холст, масло | 112 x 87 см | ![]() |
308 | |
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Portrait of Jan Boursse, Sitting by a Stove | c. 1666 | Доска, масло | 47 x 40.5 см | Museum Oskar Reinhart ‘Am Römerholz’, Winterthur | 309 | Probably painted in preparation of an unrealized etched portrait. The painting has suffered heavily from overcleaning and wear and is covered with a thick layer of yellowed varnish. |
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A Presumed Sketch for the Male Sitter in the ‘Jewish Bride’ | mid-1660s | Доска, масло | 38.4 x 31.1 см | ![]() |
310 | |
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Portrait of a Man with a Magnifying Glass, possibly Pieter Haaringh | 1665 | Холст, масло | 91.4 x 74.3 см | ![]() |
311a | Companion piece to 311b |
Portrait of a Woman with a Carnation, possibly Lysbet Jansdr Delft | 1665 | Холст, масло | 92.1 x 74.6 см | ![]() |
311b | Companion piece to 311a | |
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Еврейская невеста | ок. 1665 | Холст, масло | 121.5 x 166.5 см | ![]() |
312 | Originally the painting was larger. |
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Family Portrait | c. 1665 | Холст, масло | 126 x 167 см | Herzog Anton Ulrich Museum, Braunschweig | 313 | |
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Lucretia | 1666 | Холст, масло | 111 x 95 см | Minneapolis Institute of Arts | 314 | Both hands have been (clumsily) overpainted by a later painter. |
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Portrait of a White-haired Man | 1667 | Холст, масло | 108.9 x 92.7 см | ![]() |
315 | |
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Portrait of an Elderly Man Seated, possibly Pieter de la Tombe | 1667 | Холст, масло | 81.9 x 67.7 см | ![]() |
316 | |
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Portrait of Titus van Rijn | 1668 | Холст, масло | 72 x 56 см | ![]() |
317 | Companion piece to 318? |
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Portrait of a Young Woman, possibly Magdalena van Loo | 1668 | Холст, масло | 56 x 47 см | Montreal Museum of Fine Arts | 318 | Companion piece to 317? Cropped on all four sides. |
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Self-portrait with Two Circles | c. 1665/1669 | Холст, масло | 114.3 x 94 см | Kenwood House, London | 319 | Unfinished |
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Возвращение блудного сына | c. 1660/1665 | Холст, масло | 262 x 206 см | ![]() |
320 | Rembrandt and other hand(s). A 10 cm wide strip has been added or replaced along the right edge. |
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Self-portrait | 1669 | Холст, масло | 86 x 70.5 см | ![]() |
321 | |
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Self-portrait with Beret | 1669 | Холст, масло | 71 x 54 см | ![]() |
322 | Strips of c. 15 cm may have been removed on all four sides as early as the seventeenth century to accommodate the painting in an assemblage of self-portraits owned by the Medici family. The painting is now almost hidden behind a strongly discoloured or tinted layer of varnish under which there also seem to be extensive overpaintings. |
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Self-portrait | 1669 | Холст, масло | 63.5 x 57.8 см | ![]() |
323 | A strip of c. 10 cm is missing from the bottom. |
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Simeon’s Song of Praise | 1669 | Холст, масло | 98.5 x 79.5 см | ![]() |
324 | This painting remained unfinished in his studio after Rembrandt’s death. The woman (Mary?) was probably added later by another hand. Still later, the painting was so crudely treated that it is now a ruin. |
См. также
[править | править код]Sources
[править | править код]- A Corpus of Rembrandt Paintings I (1625–1631). Bruyn, J., Haak, B., Levie, S.H., van Thiel, P.J.J. 1982. ISBN 978-90-247-2614-1.
- A Corpus of Rembrandt Paintings II (1631-1634). Bruyn, J., Haak, B., Levie, S.H., van Thiel, P.J.J. 1986. ISBN 978-90-247-3339-2.
- A Corpus of Rembrandt Paintings III (1635-1642). Bruyn, J., Haak, B., Levie, S.H., van Thiel, P.J.J., van de Wetering, E. (Ed.). 1990. ISBN 978-90-247-3781-9
- A Corpus of Rembrandt Paintings IV (Self-Portraits). van de Wetering, Ernst (Ed.). Springer. 2005. ISBN 978-1-4020-3280-6.
- A Corpus of Rembrandt Paintings V (The Small-Scale History Paintings). van de Wetering, Ernst (Ed.). Springer. 2010. ISBN 978-1-4020-4607-0.
- A Corpus of Rembrandt Paintings VI: Rembrandt’s Paintings Revisited - A Complete Survey. Ernst van de Wetering. Springer. 2014. ISBN 978-9-4017-9173-1.