1606-1669 Dutch painter, draughtsman and etcher. From 1632 onwards he signed his works with only the forename Rembrandt; in documents, however, he continued to sign Rembrandt van Rijn (occasionally van Rhyn), initially with the addition of the patronymic 'Harmensz.'. This was no doubt in imitation of the great Italians such as Leonardo, Michelangelo, Raphael and Titian, on whom he modelled himself, sometimes literally. He certainly equalled them in fame, and not only in his own country. His name still symbolizes a whole period of art history rightfully known as 'Holland's Golden Age'. In 1970-71 a great exhibition in Paris was devoted to it under the eloquent title Le Si?cle de Rembrandt. A century before, a popular work of cultural history by C. Busken Huet referred to the Netherlands as 'the land of Rembrandt'. His fame is partly due to his multi-faceted talent. Frans Hals was perhaps at times a greater virtuoso with the brush but remained 'only' a portrait painter. Vermeer may have excelled Rembrandt in the art of illusion but was less prolific. Rembrandt was not only a gifted painter but also an inspired graphic artist: he has probably never been surpassed as an etcher, and he often seems inimitable as a draughtsman. His subjects reflect his manifold talent and interests. He painted, drew and etched portraits, landscapes, figures and animals, but, above all, scenes of biblical and secular history and mythology.   Related Paintings of Rembrandt van rijn :. | Return of the Prodigal Son | portratt av den unga saskia | Details of The Polish rider | Portrait of a young madn holding a book | Self-Portrait as a Young Man |
Related Artists:
jose Madrazo Y Agudo
Spanish Neoclassical Painter, 1781-1859 was a Spanish painter of the Neoclassic period. Born in Santander. Studied in Madrid with Cosme de Acuna and Gregorio Ferro, both rectors of the Academia de San Fernando at the beginning of the 19th century. Don Fernando La Serna, who was named ambassador to France at the time, brought Madrazo to Paris, where he entered the studio of Jacques-Louis David. There, under royal patronage from King Carlos IV, he executed a painting of the Death of Lucretia and other canvases on events from classic Greco-Roman history. He moved to Rome during Napoleonic times, where he was briefly jailed for failing to complete oaths of loyalty to the newly installed Napoleon II of France as King of Rome. In Rome, he was admitted to the Accademia di San Luca. King Carlos IV named him pintor de camara (painter of the chamber), a position confirmed by King Ferdinand VII.
LIEFERINXE, Josse
French painter, Provençal school (active 1493-1508 in Marseille) South Netherlandish painter, active in France. A native of Hainaut, in the diocese of Cambrai, he may have come from Lieferinge near Enghien (Claessens). He is documented in Marseille and Aix-en-Provence from 1493 to 1505, often being described as a 'Picard painter'. In 1503 he married Michelle, one of the daughters of Jean Changenet, the most prominent painter of the time in Avignon, with whom he may have trained. The last great representative of the 'School of Avignon',
Abraham Storck
Abraham Storck (or Sturckenburch) (bapt. April 17, 1644 - buried April 8, 1708), was a Dutch landscape and maritime painter of the Baroque era. Storck was born and died in Amsterdam, and came from a family of painters of the same name. He had a painter's studio in Amsterdam producing naval and harbor scenes as well as landscape paintings. He was influenced by the two Willem van de Veldes (the elder and the younger) and by Jan Abrahamsz Beerstraaten.