Rembrandt's prints

1498: 1935:, B. 70). At the auction of the Watelet collection in 1786, Pierre-François Basan bought all the plates in his possession (the exact number is uncertain, but Hinterding calculates as many as eighty-three) and immediately published Recueil de quatre-vingt-cinq estampes originales... par Rembrandt, a work that would be published for over a century. Henry-Louis Basan, the former's son, published a list of the plates in his possession in 1803, numbering eighty-four, five of which are no longer accepted as being by Rembrandt. André-Charles Coppier strongly criticized the actions of Watelet and Basan, as well as Baillie (see below) and Norblin de La Gourdaine, who had all “ransacked” the original copperplates in their possession to make their states - thus excluding all etchings from these plates, and the states of those posthumously drawn from his studies. 683:, pregnant with his child, being accused of concubinage by the Dutch Reformed Church in 1654, a particularly humiliating episode for Rembrandt). He suffered the effects of a period of economic crisis for Holland, the consequences of British protectionist shipping acts. He was unable to pay off his house in full, debts on the purchase of collector's items, and his paintings earned him less than before. So, in 1656, he formalized his bankruptcy and petitioned the High Court (Hoge Raad van Holland, Zeeland en West-Friesland) for an inventory of his assets (see box) to repay his creditors. In 1658, his partner Hendrickje and Titus set up a partnership to continue the art trade they had begun before these events, and obtained exclusive rights to Rembrandt's works in return for the obligation to maintain them for the rest of his life. 1830: 1746: 1148: 750:(1694–1750) was the first to publish a catalog of Rembrandt's engravings, in 1751 (posthumously): le Catalogue raisonné de toutes les pièces qui forment l'œuvre de Rembrandt. In this work, Gersaint chose to classify the works not in chronological order, but according to the subject - and in this, he was to be followed by most of his successors - which are: Rembrandt portraits; Old Testament; New Testament; pious subjects, fantasy pieces; beggars, free subjects; landscapes; portraits of men; fantasy heads; portraits of women; studies.Adam von Bartsch (1757-1821), also an aquafortist, wrote a landmark work in this field: 174: 1806: 1869: 2062: 2026: 2038: 2050: 962:

such as Esaias van de Velde the Elder, Jan van de Velde the Younger and Willem Buytewech experimented with the technique. They sought a better tone and a way to create an atmospheric effect in their landscape prints, breaking away from long contour lines to draw them with small strokes and dots. Hercules Seghers in turn experimented with etching, but for different reasons: he tried to reproduce a painting effect by printing on colored paper or canvas; moreover, he reworked the print after printing with a brush coated with colored paint, making each print unique.

696:

peinture considéré dans toutes ses parties, et démontré par principes ... auquel on a joint les Principes du dessin, 1787) praised his genius, but criticized “his lack of taste, his vulgar naturalism, his careless drawing, and the scarcity of noble subjects in his work”. Rembrandt followed the evolution of the international Baroque towards a more classical phase, but as his personal style reached its zenith, he moved away from that of his contemporaries, closer to Van Dyck, or even his pupils or former workshop companions (Govaert Flinck and Jan Lievens).

1513: 289: 740: 462: 124: 1990: 150:"But what set this artist apart was a way he invented for making engravings. This one, entirely his own, was never used by others nor seen since and consisted of strokes of points of different strengths, with irregular, isolated strokes, which created a deep chiaroscuro of great intensity. And in truth, in a certain kind of engraving, Rembrandt was much more esteemed by professionals than in painting, in which he seems to have had exceptional luck more than merit of his own." 1037:) has long been considered Rembrandt's only known woodcut. it is not known whether the original drawing is by Rembrandt or Lievens, but all the specialists credited it to Rembrandt; Charles Blanc justified this by saying that “it is worthy of him by the delicacy of the expression and by the learned and precise indication of the philosopher's hand” and that his friend was more his imitator than his pupil. However, it is now definitively attributed to Lievens by the Hollstein. 1661: 1589: 1334: 1791: 1601: 1483: 815:

made in the early 1630s, when he was starting at his workshop – Hind counts 29335; Gersaint, 341; Bartsch, 375 and Middleton and Dutuit, 329. André-Charles Coppier excludes 140 pieces from Bartsch's list, rejecting “doubtful pieces, forgeries and erroneous attributions” - a third of the pieces catalogued by Bartsch in 1797 and by Charles Blanc in 1873 -; he also rejects the prints that Woldemar von Seidlitz added to his 1895 catalogue.

1528: 1646: 1631: 1616: 1397: 1353: 1169:

feature of this Frenchz paper is the integration of a “watermark” into the trellis: a brass mark that leaves a clearer trace, as the paper becomes thinner. This information makes it easier to identify an antique print, but the different watermarks they produce according to the needs of their Dutch customers also vary in motif (B. 81, B. 71, B. 77, B. 340, B. 281, B. 280), although two watermarks are exclusive to Dutch customers:

1382: 1861:), which is also, according to the Musée du Petit Palais, the most beautiful plate. In 2013, Claude-Jean Darmon described the print as “a masterpiece, without exaggeration, among the etchings that reach the highest degree of completion”, adding that “never before has an etcher produced such deep black stamps as those of Jan Six”. It is part of the Six collection, famous in its day for its paintings, engravings, and drawings. 1676: 484:) and B. 34). Despite his setbacks, Rembrandt evolved through more human experiences and aesthetic concerns in tune with “the general trends of his time”. He thus embarked on a “very thorough and intimate study of landscape”, several years after having tackled the theme in painting. With a “captivating sincerity”, his landscapes benefit from a “suggestive, sparing line” that freshly evokes the details of the vastness of the 1776: 1368: 1761: 726:) commissioned as “insignificant”. According to Sophie de Brussière (Petit Palais), Rembrandt's withdrawal from this art form was not due to any impediment linked to old age, but to the fact that he had already completed his exploration of etching techniques - and at the same time achieved what he had been striving for throughout his career as a painter, “light-color” - and was no longer paying attention to it. 1543: 1232: 1865:

notes lack the precision required to identify the plates. Thanks to Hinterding's table, it is possible to trace the complete provenance of each plate and thus note that, after the sale of the De Jonghe collection, the De Haan sale in 1767 is the most important, where Pierre Fouquet bought many plates that then passed to Watelet, while all the others were scattered between numerous owners or disappeared.

2013:, already quite worn from successive printings, from the American painter and engraver John Greenwood, and printed around a hundred proofs, which he largely reworked directly on the original copper plate. Eventually, he cut the plate into four pieces to make separate proofs, which he later reworked individually; in particular, he added the frame of an arch to the fragment containing Christ. 2395: 458:

the luminous effects - in his biblical scenes to the dramas experienced by the artist at the time (Saskia died in 1642 and he had serious economic problems), while 20th-century writers put this theory into perspective and are more pragmatic. Rembrandt produced few works between 1642 and 1648, and his problems did not flare up again until 1650, a period of great productivity.

2409: 1943:; his friend Robert Lee Humber acquired them and deposited them in the North Carolina Museum of Art in Raleigh. In 1956, on the occasion of the 350th anniversary of Rembrandt's birth, the museum organized an exhibition showing these plates along with etchings on loan from the National Gallery of Art in Washington and prints by Alvin-Beaumont. Only two have since been lost: 951: 871: 238: 20: 496:). He progressed in this genre thanks to his ability to see his subjects for himself and to “feel” the atmospheric quality of the landscape. The softer chiaroscuro and better integration of the subject into its environment, which would endure throughout his future work, can now be appreciated. He was also interested in “free subjects”, with the pastoral idyll ( 806:

period: the author defines the engraver's handwriting, the point of which twirls ‘in sawtooth scratches, tendrils, and singular zebra marks’. Now, this tracery of great graphic freedom, which has never been well imitated by anyone, characterizes all the artist's etchings, from the earliest to the latest, and is an essential aid in rejecting forgeries."

901:”, 1718-1721): “You had to court him to obtain certain pieces of his work. It was almost ridiculous not to have a print of little Juno crowned and uncrowned, of little Joseph with a white face, and of the same with a black face." Among the prints acquired by Dutuit, many bore the marks of the most prestigious collections, such as John Barnard. 201:, was decisive in his training: Rembrandt learned pencil drawing, the principles of composition, and working from nature. He mainly tackled the same biblical and antique themes as Lastman, treating them with the same “narrative power and remarkable realistic accents”. Lastman also passed on to him the influence of artists he had met in Rome: 1245:

definitive result: each of these proofs thus corresponds to a state of the print. Observing the succession of these states allows us to follow the progress of the work, and thus to imagine Rembrandt's progress in the elaboration of his print: we can see corrections, premeditated or unpremeditated evolutions, or the search for variation.

4315: 1174: 2359:

A drypoint engraving by Rembrandt, Christ Presented to the People, sold on July 5, 2018 at Christie's for the exceptional printmaking price of 2.9 million euros, purchased, it seems, by New York financier and collector Leon Black. Ger Luijten, former curator of prints at the Rijksmuseum Amsterdam and

1938:

While these various inventories are studied with great attention by specialists, the fate of Rembrandt's plates is subsequently very clear, as the following owners acquire the plate collections en bloc: Auguste Jean (circa 1810); Veuve Jean (1820); Auguste Bernard (1846); Michel Bernard (circa 1875).

1155:

Rembrandt made his inks and prints, on two intaglio presses – one made of “island wood”, the other of oak – that he had at home, which enabled him to study the evolution of his plates all the more precisely. To achieve more pictorial effects, Rembrandt did not wipe his plates completely: he sometimes

1068:

In etching, the varnish serves to protect the plate from the bite of the acid that seeps in where the engraver has removed the varnish with his point. The composition of this varnish has evolved, impacting the aesthetics of the etching. Rembrandt chose a soft varnish, which allows greater flexibility

961:

The chemical technique of etching was developed in the Middle Ages by Arab armorers to decorate their weapons. It flourished in the southern part of present-day Germany in the 15th century, where the first etchings were printed towards the end of that century. In the early 17th century, Dutch artists

805:

André-Charles Coppier's Les eaux-fortes authentiques de Rembrandt, published in 1929, is also cited by the Petit Palais, which explains that although it is incomplete, it “provides an element of stylistic judgment that is crucial to the difficult evaluation of Rembrandt's production during the Leyden

6292:

A counterproof is a print made in reverse by taking a freshly printed, still-moist proof, laying a sheet on top, and passing the two together under the press. The result is a print of a print - the counterproof - which naturally, by being printed in reverse twice, corresponds exactly to the original

969:

An etching can be enhanced using a drypoint and burin, by engraving directly onto the plate - whereas in the etching process, the varnish is removed without touching the plate - but the line can be coarse and the effect lost after the press has passed. Rembrandt never enhanced his etchings at first;

263:

He seems to have started etching as early as 1625–26 – at the very beginning of his career as an independent painter – although his first engravings are dated 1628. His technique and style are very close to those of Lievens, who probably instructed him. Rembrandt, however, left sculptural effects to

1864:

The first known inventory is that made from the collection of Clement De Jonghe in 1679 (two years after his death); de Hoop Scheffer and Boon and Hinterding agree on the authenticity and authorship of all the plates identified in this inventory, with very slight modifications. However, some of the

814:

Specialists categorize Rembrandt's etchings according to whether all the states are Rembrandt's; whether they were reworked and finished by a foreign hand; whether they are known only from a state reworked by a pupil; and those rejected. If we exclude this last category – in which are mainly prints

801:

Arthur Mayger Hind is a British specialist in etching, particularly Italian, but has published several works on Rembrandt's etchings: A Catalogue of Rembrandt's Etchings: chronologically arranged and completely illustrated (1900), Etchings of Rembrandt (1907), Rembrandt, With a Complete List of His

773:

Shortly before the latter, Charles Blanc (1859–1861) had undertaken an ambitious work, L'Œuvre complet de Rembrandt, catalog raisonné de toutes les eaux-fortes du maître et de ses peintures (in two volumes), in 1859-1861. However, André-Charles Coppier (see below), strongly criticized this work: he

691:

In 1663, Hendrickje died and Titus married, leaving Rembrandt completely alone. These events left their mark on Rembrandt's contemporaries, and Joost van den Vondel, the great national poet, like them, drew a parallel with his works, which were considered more obscure than before, describing him as

457:

The union of technique, style and poetry that was to become his style was born in the 1640s. He abandoned the exuberance of the Baroque for a more classical expression; early specialists attributed this shift towards introspection, intimacy, and a return to a more religious content - he intensified

216:

Rembrandt did not go on the Grand Tour and settled in Leiden in 1625. His friend Jan Lievens, also a pupil of Lastman and van Schooten, joined his studio. By this time, their talent and style were so similar that it was difficult for art historians to distinguish between them. André-Charles Coppier

139:

Rembrandt found his true style in the less productive 1640s, abandoning a sometimes exaggerated Baroque for a more intimate Classicism, in both reigious subjects and landscapes. He also gradually changed his approach to subjects, concentrating on the moment whose dramatic tension comes from putting

6156:

Karel G. Boon describes Swanenburgh as a "fairly insignificant painter of architecture, a retarded disciple of Mannerism". While it is known that Rembrandt perfected his pen-and-ink drawing skills with him at the age of 15, "it is not known what influence Jacob Izaaksz Swanenburch had on his young

5251:

Oeuvre complet de Rembrandt dé̕crit et commenté par Eugène Dutuit et reproduit à l'aide des procédés de l'héliogravure par Charreyre: Catalogue raisonné de toutes les estampes du mat̋re accompagné de leur reproduction en facsimilé de la grandeur des originaux au nombre de 360 environ précédé d'une

853:

The notation chosen for this article is the Bartsch notation, the reference most commonly – and sometimes only – used. When a work has not been known or recognized by Bartsch, the second notation used is that of Seidlitz (1895). This notation is very often included in the correspondence tables for

83:

Some of his prints survive in a single impression (or copy), but these are mostly sketchy studies. Many of his most finished prints have had the plates reworked, initially by Rembrandt himself, to produce a later state, but then by others for two centuries or more after his death. Studies of the

2366:

They are often subsequently resold by unscrupulous people as genuine works by Rembrandt. At the December 19, 2018 sale at the Hôtel Drouot in Paris, a collection of eighty-five original prints by Rembrandt (1606-1669) and thirty-five others after the artist, produced in the Jean family's printing

932:

The fame of Rembrandt's etchings has endured through the centuries, even more than his paintings; this is all the more remarkable given that he was active in the 17th century, the golden age of Dutch etching, and that this technique is only one of those the artist employed, with over four hundred

695:

Critics of his time, such as Joachim von Sandrart (Teutsche Academie, 1675), Samuel van Hoogstraten (Inleyding tot de Hooge Schoole der Schilderkonst, 1677), Arnold Houbraken (Le Grand Théâtre des peintres néerlandais, 1718-1721) and Gérard de Lairesse (Le Grand Livre des peintres, ou l'Art de la

965:

Rembrandt quickly became very interested in these developments and pushed the technique to the limit. In his hands, etching became an art form in its own right, occupying him for the rest of his life. He produced some 300 etchings, all of them intended to be original works of art. His mastery of

119:

Living in Amsterdam since 1630, Rembrandt sought to break into the art market by innovating both in subject and technique, producing compositions captured on the spot of great quality. From 1636 onwards, Rembrandt distinguished himself by his mature treatment of self-portraits, a more humanistic

5591:

The whole art of drawing, painting, limning, and etching collected out of the choicest Italian and German authors: to which is added exact rules of proportion for drawing the heads of men, women and children, of what bigness soever / originally invented and written by the famous Italian painter

1212:

He sourced paper from Asia, frequently using japon, a paper with no vergeures, pontuseaux or watermarks, available in a variety of weights and textures, and colors ranging from opaline white to golden, almost tan. Rembrandt appreciated its warm, yellowish color, which was very effective for his

793:

and the British Museum. He broadly follows the categories of his predecessors to study 363 pieces (80 of which are now rejected). Dutuit had a great aesthetic sensitivity, as revealed by the large number of high-quality prints (fine supports, parchment, Japanese or Oriental paper) and very well

1168:

Rembrandt always sought to exploit the different possibilities that each support could offer. For example, he initially used only paper made in France (Troyes and Angoulême), as Dutch mills did not produce paper suitable for printmaking until the end of the seventeenth century. The distinctive

928:

donated his prints to the Musée du Petit Palais, there have been few exhibitions of Rembrandt's engravings, and these were presented in small numbers. Among the most notable was the “Exhibition of Prints by Rembrandt and Dürer” in 1933, another at the Louvre in 1969 to mark the tercentenary of

1244:

A print plate can be retouched in a variety of ways, to correct defects or achieve a desired effect; for example, the artist can use a scraper or burnisher, or play with the support by changing the inking or paper type. At each stage, he may make a print to see the intermediate or potentially

1209:. Towards the end of the 1640s, in his quest for a certain richness of tone, Rembrandt varied the quality of his supports, even to the point of using paper of very inferior quality, such as cardoes paper (for the Dutch; oatmeal paper for the English), a “rather coarse, buff-colored” paper. 2387:

In April 2019, the organizers of the Dutch soccer championship announced that to mark Rembrandt Year (2019 being the 350th anniversary of the artist's birth), a special ball would be used for the 2019-2020 season: the "Rembrandtbal" displays prints by the artist, including landscapes and

757:

Ignace Joseph de Claussin (1795–1844), an aquafortist and print dealer, fell in love with Rembrandt when he tried to compile a catalog raisonné of all his prints, including his own engravings after the Dutch master, whose quality misled some specialists. In 1824, he finally published

5144:

Supplément au Catalogue de Rembrandt: suivi d'une description de[s] estampes de ses élèves, augmentées de pièces et d'épreuves inédites; on y a joint une description des morceaux qui lui ont été faussement attribués et de ceux des meilleurs graveurs, d'après ses tableaux ou

326:). On the strength of this success, Rembrandt sought to establish himself on the art market, which was dominated by Rubens. He tried to transcribe the imagination he had shown in his paintings in his etchings, where he studied how to reproduce the effects of grisaille painting ( 1837:

According to the Musée du Petit Palais in 1986, seventy-nine original Rembrandt copperplates are known to exist. In Erik Hinterding's The History of Rembrandt's copperplates (1995), the author surveys the existing plates, lists and describes them all (except Jan Uytenbogaert

1069:

and freedom for the hand, as opposed to the hard varnish borrowed from the violin makers of Florence and Venice and used by Jacques Callot.: Its composition has been known since 1660 and the publication of the treatise The Whole Art of Drawing, Painting, Limning and Etching

911:

Collectors did not hesitate to exhibit them publicly, as Eugène Dutuit did, lending some of his most important Rembrandt prints to prestigious exhibitions attended by numerous collectors, such as those of the Burlington Club - notably the Self-Portrait Engraving

4070: 1912: 1198: 6356:

Please note: these are the parts of the original proof cut according to Baillie's cuts. These will be reworked by Baillie, so they will be significantly different. To see the four pieces reworked by Baillie, view the image in very low resolution on the bnf.fr

2370:

The major sale of early engravings at Christie's, New York, on January 29, 2019, features 21 sheets that fetched from $ 6,000 for a somewhat pale 1637 biblical scene of Abraham, to $ 468,000 for a Saint Jerome reading in an Italian landscape (B. 104).

209:, while he discovered the work of Rubens in his studio. Rembrandt thus appropriated chiaroscuro as his language, “of rare poetry”. The bustle and art of Amsterdam left their mark on his early work; he became acquainted with Flemish painters, including 4788:

Notizie de' professori del disegno da Cimabue in qua,: per le quali si dimostra come, e per chi le bell' arti di pittura, scultura, e architettura lasciata la rozzezza delle maniere greca, e gottica, si siano in questi secoli ridotte all'antica loro

5205:

L'oeuvre complet de Rembrandt : catalogue raisonné de toutes les eaux-fortes du maître et de ses peintures... orné de bois gravés et de quarante eaux-fortes tirées à part et rapportées dans le texte. Tome 1 / décrit et commenté par M. Charles

6202:

This first Rembrandt catalog raisonné is also the very first catalog of the graphic work of a single artist, with a detailed chapter on doubtful attributions and the connoisseur's question of how to distinguish Rembrandt's work from that of his

854:

Rembrandt's print notations35. A correspondence table between the notations of Edme-François Gersaint (Gersaint-Yver-Daulby), Adam von Bartsch and Ignace Joseph de Claussin, sorted by subject, is produced and can be consulted in Thomas Wilson's

933:

paintings and thousands of drawings. This is partly because he was the first to truly exploit it with such technical and artistic mastery, even though the technique had been around since the 15th century and had not changed since the 16th.

908:), one of his finest pieces – and a major player in the art market of the time, Clement De Jonghe accumulated a large number of copperplates, including 74 etchings by Rembrandt, which were sold two years after he died in Amsterdam in 1679. 5711: 1100:, 1645, revised by Charles-Nicolas Cochin in 1745), this composition is that of the formula for a varnish taken from a manuscript by Callot. He proposes another formula, called “Vernis de Rimbrandt ”, whose composition is as follows: 1497: 1004:), where Rembrandt seeks to accentuate contrasts and achieves a very dark effect by leaving a lot of ink in certain areas of the plate. He also employed the “surface tone” technique to give greater depth to the shadows, as in 217:

speaks of a time when Rembrandt's production was limited to an overproduction of commercially-oriented prints – “sales subjects” for which he was content with a purely linear style – associated with the painters Jan Lievens,

587:). He also made greater use of drypoint; La Pièce aux cent florins (1649) represents "all the aspirations, if not all the achievements of an entire decade", thanks to the harmony achieved by exploiting different techniques. 80:, 31 are etchings, ranging from very quick sketches to four highly-finished "official" self-portraits. Unlike his paintings, his prints circulated throughout Europe during his lifetime, contributing to his great reputation. 4667: 576: 2378:

In a New York sale by Christie's on January 24, 2023, 23 engravings by Rembrandt sold for between $ 5,670 and $ 730,800 for the fourth state of the Three Crosses, a subject highly prized by major collectors and museums.

112:. Initially, Rembrandt produced a large number of reproductive or commercial prints. He began etching around 1625, at the same time as launching his career as an independent painter. Initially very close to the style of 3255: 75:

He produced prints on a wide range of subjects: self-portraits and portraits, biblical and mythological subjects, genre scenes, landscapes, and other subjects. In particular, of the unprecedentedly high number of

156:“In the history of graphic art, it rarely happens that a technique can be completely identified with the genius of a single artist; however, it can be said that etching, in the seventeenth century, is Rembrandt.” 3239: 1259:

Rembrandt's engravings are “traditionally” sorted thematically in catalog raisonnés, according to their classification. The most extensively studied engravings in these catalogs' raisonnés are the following:

1164:

Several types of paper (European, Japanese, Chinese, etc.) and vellum paper can be used: they vary in color and grain (type of surface). The artist can thus choose the one best suited to the desired effect.

404:), while at the same time displaying a heightened dramatic and baroque expression. Rembrandt also became more aware of the technical means of engraving: he made more precipitate and syncopated cuts in some ( 754:. In it, he established what became the definitive numbering system, based on his name (e.g. “Bartsch 17” or “B. 17”), for Rembrandt etchings and copies by many other artists, a system still in use today. 6221:

Note that while Woldemar von Seidlitz (1895) uses the Bartsch notation, he uses the “S.” notation for prints that Bartsch did not include in his catalog raisonné and that Seidlitz attributes to Rembrandt.

3231: 515:

As in his painting, Rembrandt changed the way he approached his subjects: he no longer depicted the most pathetic moment, but the one "whose dramatic tension comes from putting the action on hold", as in

5608:

De la manière de graver à l'eau forte et au burin : et de la gravûre en manière noire : avec la façon de construire les presses modernes & d'imprimer en taille-douce / par Abraham Bosse,...

140:

the action on hold. Initially meticulous in the treatment of textures, Rembrandt concentrated on the structure of objects and lighting effects, the apogee in terms of composition and technique being the

946:

Almost all of Rembrandt's etchings are executed in etching, the process of which – Rembrandt's own – is detailed below. However, he also used other techniques such as drypoint and burin for retouching.

5774:"Recueil de Quatre-Vingt-Cinq Estampes originales, Têtes, Paysages et différents Sujets, dessinées et gravés par Rembrandt, Peintre Hollandais, né en 1606, et mort en 1668. | Old Master Prints | 2023" 601:

This inventory document remained a subject for art historians: his collection included antique and Asian works of art, scientific objects, weapons, musical instruments, costumes, and pictorial works.

6420:

L'œuvre complet de Rembrandt: catalogue raisonné de toutes les eaux-fortes du maître et de ses peintures... orné de bois gravés et de quarante eaux-fortes tirées à part et rapportées dans le texte

6411:

1745: 2016:

This initiative was highly controversial at the time, considered unworthy by some and welcome by others, as the plate was in poor condition. These final proofs were published by John Boydell.

993:

When the artist corrects the plate after printing, we speak of a new "state". Virtually all of Rembrandt's prints exist in several states – from minor corrections to genuine new compositions.

1805: 893:

By producing numerous states of his prints, while maintaining an exclusive attitude, Rembrandt knew how to arouse collectors' interest in him and his work, as Arnold Houbraken reports in

68:, which have provided specialist scholars with a good deal of work. For some of his career Rembrandt had an etching press in his house; this is now recreated in the original room in the 6329:

When this “tinting” technique is used only in certain areas of the composition, we speak of “rolled-up proofs”, as in the case of Saint Jerome reading in an Italian landscape (B. 104).

2729: 2705: 6175:

Even if the writer Constantin Huygens, no specialist on the subject, wrote in 1629-1631 that “Rembrandt was incomparable in the narrative life he knew how to lend to his subjects”.

2997: 6578:

Ernst van de Wetering, Volker Manuth, Marieke de Winkel, Edwin Buijsen, Peter Schatbron, Ben Broos et Ariane van Suchtelen (trad. Jean Raoul Mengarduque), Rembrandt par lui-même

4623: 2352:

In the early 20th century, Lucien Monod reported on the market value of Rembrandt's prints. He defined them as “first class”, with estimates ranging from 18 to 100,000 francs (

1875:, by Claude-Henri Watelet (n. d.), based on an undated original by Rembrandt, not referenced by Bartsch, but by Woldemar von Seidlitz as “S. 384” and now in the British Museum. 1034: 996:

Variations can also be introduced by inking differently: the artist can choose to leave more or less ink on the plate before it goes under the press. This technique is used in

116:, with whom he shared his studio, Rembrandt left the sculptural effects to work more on faces and the play of light – a characteristic he would develop throughout his career. 1660: 6320:

Unlike other artists, who had people – usually students – in their studios to do this. Reproductions of these presses are on permanent display at the Rembrandt House Museum.

2363:

The drawing loses its finesse with the use of the printing plate, and as Paris expert Hélène Bonafous-Murat explains: “Rembrandt's plates were used for reprints until 1900.

719:(1653) and later Alexander the Great (1661) and Homer (1663), as well as 189 etchings in 1669. He also continued to have pupils, notably Philips Koninck and Aert de Gelder. 6075: 1588: 1527: 1045:

Rembrandt would never have used tracing paper or reference points before tracing his drawing directly onto the varnish. He would have used pencils for very few engravings (

3957: 1020:). It is also noteworthy that Rembrandt made his impressions – unlike the vast majority of artists – precisely to have the freedom to ink according to the desired effect. 673:

This inventory has allowed Rembrandt specialists to realize Rembrandt's enlightened curiosity and the great importance of his study of the Italian Renaissance in his work.

386: 296: 6531:

Aide-mémoire de l'amateur et du professionnel: le prix des estampes, anciennes et modernes, prix atteints dans les ventes - suites et états, biographies et bibliographies

5177: 818:

Catalogs raisonnés of Rembrandt's engraved works frequently present a table of correspondence between the different notations in each of the reference catalogs raisonnés

6283:"Surface toning" consists of not cleaning the entire plate, to give a grayish effect by the presence of a little ink scattered over the whole plate or a particular area. 2360:

director of the Fondation Custodia in Paris, explains: “When Rembrandt went bankrupt, and after his death, copper plates were sold and reused to make prints much later.

6338:

It was easily imported into the Netherlands thanks to the trade relations between the two countries from 1639 to 1854, via the Dutch East India Company based in Java.

5621: 5219: 2841: 2537: 1512: 1125:

Rembrandt used “Dutch mordant”, which "digs deeper to produce clean, precise lines, unlike nitric acid, which produces broad, rather coarse lines". It consists of:

5969: 5920: 2061: 3414: 3271: 1333: 966:

drypoint and the unique deep black of his etchings became famous during his lifetime, and his etchings were particularly sought-after by collectors of his time.

3454: 3438: 3069: 6123: 6311:

The expression “island wood” is not a clearly defined term, but it seems to refer to woods intended for cabinet-making: mahogany, ebony, rosewood, gayac, etc.

1986:, Göttingen University Library) to make up the corpus of plates known to Hinterding in 1995 (seventy-nine plates known to the Musée du Petit Palais in 1986). 4150: 2737: 2697: 921: 481: 469: 132: 3402: 1829: 508:). His works in this genre benefited from more thoughtful, monumental compositions, abandoning trompe-l'œil effects in his painted and engraved portraits ( 280:, B. 16). However, he followed the typical themes of his time in both painting and engraving, with biblical subjects, old men's heads, and self-portraits. 3197: 3101: 789:(1883), “recognized for the technical perfection of their illustration. This “serious work” is based on the study of his own collection and those of the 774:

claimed that Blanc himself had copied forgeries abroad and had them etched by Léopold Flameng to illustrate his third catalog with so-called facsimiles.

6230:

André-Charles Coppier's “Catalogue chronologique des eaux-fortes authentiques et de leurs états de la main de Rembrandt” uses only the Bartsch notation.

64:

In all he produced about 300 prints. He is famous for revising prints, sometimes over a period of several years, producing an unusually large number of

4183: 3693: 2025: 1760: 1202: 1001: 715: 5101:"'Catalogue Raisonné De Toutes Les Estampes Qui Forment L'Oeuvre De Rembrandt, Et Ceux De Ses Principaux Imitateurs. Seconde Partie' - Details | MDZ" 1790: 1600: 2561: 2037: 3386: 3335: 3263: 3133: 2933: 2769: 2609: 2049: 3533: 1542: 2505: 1482: 1122:

Once the varnish has been applied and the drawing made on it, the plate is dipped in acid so that it bites where the varnish has been removed.

6193:

This association provided material support for Rembrandt but protected the trade in his works since he no longer had the legal right to do so.

5773: 6585: 6547: 6510: 5882: 5721: 5416: 5297: 5006: 4769: 3856: 3109: 3093: 2801: 2077:

Rembrandt's engravings were copied extensively by artists, and some art historians have even compiled a list of engravings after Rembrandt.

476:

At the age of 40, he discovered the work of Leonardo da Vinci and Andrea Mantegna, who had a major influence on his future work, notably on

318:(1632). From 1631 to 1634, Rembrandt painted several self-portraits that were close to the Baroque codes of his painting style at the time ( 3799: 3637: 2793: 2785: 1645: 5799:

Catalogue des planches gravées qui composent le fonds des sieurs Basan et Poignant, marchands d'estampes, rue & hôtel Serpente à Paris

1630: 1615: 5488: 1396: 3565: 3494: 3370: 2941: 2649: 2442: 2216: 1352: 790: 563:

His technique as an aquafortist developed “considerably”: he abandoned the meticulous treatment of textures so dear to him – as seen in

1381: 268:, S. 398). His style evolved, as he became more airy and chose larger compositions, although he still produced small, detailed scenes ( 3343: 3125: 2973: 2593: 450: 5830: 1228:, 1st state). Finally, Rembrandt used a pale yellow paper similar in appearance to Indian miniatures (presumably from that country). 264:

study light effects in particular. He perceived engraving as an experimental and foreign art form: at first, he was content to draw (

6566: 6491: 6445: 6390: 5944: 3739: 3470: 3462: 3430: 3061: 3029: 2865: 2657: 2553: 667:. Finally, he owned a few books: a Bible, Flavius Josephus' “Antiquités judaïques” illustrated with woodcuts by Tobias Stimmer, and 177:

Portrait of Jan Lievens by Charles Eisen, in La Vie des Peintres Flamands, Allemands et Hollandois by Jean-Baptiste Descamps (1754).

135:), is an etching heightened with drypoint and burin, executed over almost 10 years and completed around 1649. Rijksmuseum Amsterdam. 2745: 1850:), to which he did not have access), and sets out to make an exhaustive list of all the owners of these plates throughout history. 1675: 173: 1147: 5127:

Catalogue raisonné de toutes les estampes qui forment l'oeuvre de Rembrandt et des principales pièces de ses élèves [...]

3478: 3446: 3141: 2965: 2777: 2689: 1775: 709: 1367: 3653: 3327: 2761: 2673: 2625: 2480: 6050: 1868: 5592:

Odoardo Fialetti, painter of Boloign; published for the benefit of all ingenious gentlemen and artists by Alexander Brown ...

3661: 3514: 3502: 3486: 3422: 3247: 3013: 2913: 2601: 2577: 2468: 3668: 1962:

Seventy-seven plates have survived and are preserved by the family of Robert Lee Humber, to which must be added three more,

6302:

Careful wiping of the copper, often leaving ink only in the sizes, lends a “charm” of “great graphic purity” to his prints.

970:

but from 1640 onwards, he became more interested in these techniques, particularly the velvet effect produced by drypoint:

276:). We know that Rembrandt owned a collection of Callot's engravings and that he was strongly inspired by the Gueux series ( 88:, help to clarify the dating of what are often several stages of creating the print, and then printing off batches of it. 30:), is often used on the covers of publications on Rembrandt's engraved work, such as the one in the Musée du Petit Palais.: 3678: 3597: 3523: 3085: 2833: 2809: 2681: 2464: 2460: 2241: 1254: 699:

Despite his image as a misunderstood loner, Rembrandt continued to receive commissions: from private individuals, notably

222: 1224:

He also used a paper that is erroneously called “Chinese”: a very fine, sometimes lined, gray pearl-colored paper (e.g.:

6609: 3779: 3518: 2989: 2825: 2713: 2665: 2513: 2497: 146:(completed in 1649, after a decade of work). In the 1650s, Rembrandt became more productive and artistically liberated. 3295: 3279: 3021: 2949: 2881: 2857: 2545: 2472: 2259: 916:) in 1877 – the Cercle de la Librairie prints exhibition and the Central Union exhibition – including the masterpiece 77: 6166:

It was at Joris van Schooten's that Rembrandt is said to have met Jan Lievens, then considered “more gifted than he”.

5333:

Kritisches Verzeichnis der Radierungen Rembrandts zugleich eine Anleitung zu deren Studium, von Woldemar von Seidlitz

766:, the first of which became a reference work, notably for Charles Henry Middleton, who quoted extensively from it in 5691: 3771: 3723: 3573: 3189: 3165: 3149: 2981: 2889: 2132: 802:

Etchings (?) and Rembrandt and his etchings. A compact record of the artist's life, his work, and his time (1921).

760:

Catalogue raisonné de toutes les estampes qui forment l'œuvre de Rembrandt, et des principales pièces de ses élèves

303:

Rembrandt moved to Amsterdam in 1631 and opened his studio in the home of his friend, the publisher and art dealer

1939:

In 1906, the publisher Alvin-Beaumont bought the original plates and made prints from them, which he published in

1833:

Copper plate for Gueux et gueuse (B. 164, Canadian private collection on deposit at the Rembrandthuis, Amsterdam).

3688: 3394: 3287: 3223: 3181: 3053: 3005: 2920: 2641: 2633: 2529: 2322: 2304: 2251: 2236: 2231: 747: 5872: 4830: 752:

Catalogue raisonné de toutes les Estampes qui forment l'Œuvre de Rembrandt, et ceux de ses principaux Imitateurs

3557: 3351: 2873: 2585: 2569: 648: 636: 288: 35: 2196: 2137: 795: 2375:(B. 22) from 1648 sold for $ 35,000, and a chiaroscuro landscape of three trees in a clearing for $ 324,500. 4733: 4722: 4711: 4700: 4689: 4678: 4656: 4645: 4634: 4612: 4601: 4590: 4579: 4568: 4557: 4546: 4535: 4524: 4513: 4502: 4491: 4480: 4469: 4458: 4447: 4436: 4425: 4414: 4403: 4392: 4381: 4370: 4359: 4348: 4337: 4326: 4304: 4293: 4282: 4271: 4260: 4249: 4238: 4227: 4216: 4205: 4194: 4172: 4161: 4139: 4128: 4114: 4103: 4092: 4081: 4059: 4048: 4037: 4012: 4001: 3990: 3979: 3968: 3946: 3935: 3924: 3913: 3902: 3891: 3880: 3613: 3581: 3205: 3077: 2435: 2201: 2188: 1983: 1975: 1967: 1956: 1948: 1932: 1928: 1924: 1920: 1916: 1908: 1904: 1900: 1896: 1892: 1888: 1884: 1858: 1847: 1839: 1225: 1218: 1214: 1194: 1190: 1186: 1182: 1178: 1054: 1050: 1046: 1017: 1009: 987: 983: 979: 975: 913: 905: 886: 723: 704: 632: 584: 568: 557: 549: 541: 533: 525: 509: 505: 501: 497: 493: 489: 433: 425: 417: 413: 409: 405: 401: 397: 393: 378: 359: 347: 339: 335: 331: 327: 323: 319: 304: 277: 273: 269: 257: 253: 245: 27: 6184:

See the small studies of elderly people for whom his parents were most often the models: B. 374 and B. 366.

4760:

Musée du Petit Palais (Paris, France); Rembrandt Harmenszoon van Rijn; Bussierre, Sophie de, eds. (1986).

4023: 3621: 3311: 2817: 2489: 2332: 739: 640: 265: 69: 2009:

In 1775, Captain William Baillie, a British Army officer and Irish printer, bought the original plate of

3747: 3715: 3707: 3699: 3605: 2721: 2160: 2147: 2120: 1883:

acquired eighty-one original copper plates, but being an aquafortist himself, he reworked some of them (

461: 392:

1636 was a pivotal year for Rembrandt: he achieved greater maturity in his treatment of self-portraits (

308: 226: 187: 142: 123: 5737: 679:

It was also a difficult period for him, both economically and socially (with, for example, his partner

5352: 3836: 3787: 3731: 2957: 2905: 1880: 676:

Rembrandt's most creative period was also his most personal, liberated, and artistically pure style.

1989: 1023:

Finally, Rembrandt also used reverse-proofing technique to make minor corrections, particularly for

713:(1662); and even internationally, since an Italian nobleman commissioned a philosopher and received 6076:"Placements: s'offrir un Rembrandt, un Goya ou un Picasso, c'est possible à un prix très abordable" 3319: 2617: 2312: 680: 252:

Rembrandt's works become more intimate and “reveal a new subtlety in the treatment of chiaroscuro”

65: 6466:«Technique of Etching», dans Nel Segno di Rembrandt, Venise, Giuseppe Bergamini and Bert W. Meijer 6293:

composition of the plate. This is useful for correcting small errors or making slight adjustments.

1060:

We know that Rembrandt was right-handed, thanks to the hatching he made in his numerous drawings.

6604: 5615: 5213: 3822: 3755: 3378: 2753: 2521: 2428: 2414: 2211: 1221:); the very fine, soft surface of this paper enabled him to exploit the full effect of drypoint. 1114:

Traditionally, the copper was then varnished with a hot stamp, before being smoked with a torch.

97: 2299: 2175: 4762:

Rembrandt, eaux-fortes: Musée du Petit Palais, Collection Dutuit, 6 février 1986, 20 avril 1986

6581: 6562: 6543: 6506: 6487: 6441: 6386: 5878: 5717: 5412: 5293: 5002: 4765: 3829: 3645: 3303: 2294: 668: 664: 652: 628: 366: 2367:

workshop on rue Saint-Jean de Beauvais between 1820 and 1846, was auctioned off for €88,200.

671:'s “Traité des proportions du corps humain” (Treatise on the proportions of the human body). 5100: 3629: 3549: 3157: 3037: 2849: 2165: 2115: 925: 782: 660: 624: 604: 370: 210: 159:- Karel G. Boon, Director of the Prints and Drawings Department, Rijksmuseum Amsterdam, 1963 46: 396:), and opted for a humanist – albeit more classical – representation of biblical subjects ( 3807: 3541: 3173: 3117: 2897: 2280: 2206: 2183: 2110: 2095: 620: 608: 5516: 153:- Philippe Baldinucci, art historian and contemporary collector of Rembrandt, 1681-1728. 6475:

A Catalogue of Rembrandt's Etchings: chronologically arranged and completely illustrated

5289:

Rembrandt and His Etchings: A Compact Record of the Artist's Life, His Work and His Time

1853:

Jan Six, a Dutch art collector, was given one of Rembrandt's most beautiful engravings,

860:

A Catalogue of Rembrandt's Etchings: chronologically arranged and completely illustrated

3812: 3045: 2317: 2226: 2221: 2170: 2105: 2100: 1594:

Beggar with a wooden leg, known as “Capteyn Eenbeen” (ca. 1630, Rijksmuseum Amsterdam).

656: 202: 194: 120:

representation of biblical subjects, and his growing mastery of engraving techniques.

101: 408:). Still, he was much more tender and nuanced in others, as in his studies of Saskia ( 45:

throughout his career, and is universally regarded as one of the greatest creators of

6598: 3817: 3763: 3589: 2327: 5160: 1231: 6248:

As opposed to reproduction engraving, the main function of the medium at this time.

5543:

Hollstein's Dutch & Flemish Etchings, Engravings, and Woodcuts: Ca. 1450 - 1700

2155: 2142: 2085: 644: 5203: 619:, Palma le Vieux, Lelio Orsi, Raphael, and the Carracci; It also housed prints by 6371: 5899: 5855: 5797: 5606: 5541: 5409:

Rembrandt, eaux-fortes: , Petit Palais, Musée des beaux-arts de la Ville de Paris

5391: 5331: 5287: 5270: 5249: 5142: 5125: 5084: 5023: 4786: 2337: 2246: 2090: 1343: 882: 858:(1836), starting on page 242; another, even more extensive, was made by Hind in 260:). He soon found a very free and personal style for self-portraits and visages. 113: 105: 6101: 5589: 2400: 2390: 978:) is an example. He also engraved a number of prints exclusively in drypoint ( 722:

During his last eight years, Rembrandt produced just one etching: a portrait (

350:). He did, however, manage to capture reality on the spot with great quality: 218: 206: 190:(from 1621 to 1623, with whom he learned pen drawing) and Joris van Schooten. 42: 6484:

The history of Rembrandt's copperplates: with a catalog of those that survive

5086:

Catalogue raisonné de toutes les pièces qui forment l'oeuvre de Rembrandt,...

1156:

left a light veil of ink on certain smooth areas to obtain a form of “tint”.

311:, who had a social network in the local bourgeoisie from which he benefited. 6385:. New Haven, Londres: Yale University Press, National Gallery Publications. 2451: 2394: 1151:

Reconstructed intaglio press in Rembrandt's studio (Rembrandt House Museum).

950: 870: 798:

in 1902; Rembrandt: Eaux-fortes presents 175 etchings from this collection.

616: 612: 237: 198: 85: 50: 38: 19: 6540:

La réception de Rembrandt à travers les estampes en France au XVIIIe siècle

4997:

Hoogstraten, Samuel van; Hoogstraten, Samuel van (2006). Blanc, Jan (ed.).

2080:

In the 17th century, the main interpreters of Rembrandt's engravings were:

579:) – to concentrate on the structure of objects and lighting effects, as in 6124:"Foot : Rembrandt s'invite sur le ballon du Championnat des Pays-Bas" 1723:(1650, etching, drypoint and burin on paper), Rembrandt's only still life. 6271: 904:

A friend of Rembrandt – the latter produced an engraved portrait of him (

504:), but abandoned commissioned portraiture, except his bourgeois clients ( 58: 2408: 2388:

self-portraits. The balloon was presented at the Rijksmuseum Amsterdam.

61:. Many prints used a mixture of techniques, as was common at the time. 6258: 445: 109: 54: 895:

De Groote Schouburgh der Nederlantsche konstschilders en schilderessen

6347:

View works that have been in the Six collection on Wikimedia Commons.

929:

Rembrandt's death and finally the one at the Petit Palais in 1986.

528:). His choice of biblical scenes focused on the most lyrical – see 1988: 1867: 1828: 1309:, known as “The Gold Weigher” (1639, etching and drypoint on silk) 1230: 1146: 949: 869: 738: 460: 287: 236: 172: 49:. Though, like other prints, his are often loosely described as " 6522:

A Descriptive catalogue of the etched work of Rembrandt van Rhyn

5162:

A descriptive catalogue of the etched work of Rembrandt van Rhyn

500:) and pure eroticism, with a couple in a very sensual attitude ( 2424: 1578:(1641, etching, drypoint) and other Oriental or Polish subjects 1321:, falsely called Faust (ca. 1652, etching, drypoint, and burin) 1012:), or to create an atmospheric effect in his landscapes, as in 6051:"Comment s'offrir un Rembrandt, sans être millionnaire ?" 5159:

Middleton-Wake, Charles Henry; Haden, Francis Seymour (1878).

768:

A Descriptive catalog of the etched work of Rembrandt van Rhyn

6383:

Rembrandt: the Master and his Workshop: Drawings and Etchings

5874:

Drawings by Rembrandt and His Pupils: Telling the Difference

2420: 1548:

Jupiter and Antiope: the large plate (1659, British Museum).

692:“the friend and son of the shadow, like the nocturnal owl”. 454:, a revelation that had "a great aesthetic impact" on him. 436:), but did not use both on the same plate until 1641–1642. 4675:

The Artist’s Mother with Her Hand on Her Chest: Small Bust

1278:(1631, etching and drypoint and pen and brown ink drawing) 1997:

reworked by William Baillie. Museum of Fine Arts, Boston.

777:

In 1986, the Petit Palais based its two-volume monograph

6381:

Holm, Bevers; Schatborn, Peter; Welzel, Barbara (1991).

5286:

Holman, Louis Arthur; Hind, Arthur Mayger (2023-07-18).

5202:

Blanc, Charles (1813-1882) Auteur du texte (1859–1861).

1534:

Jesus presented to the people, or the Ecce Homo in width

6037:

Les gravures de Rembrandt sur le marché de l'art d'hier

3870:

Prints cited according to Bartsch or Seidlitz numbering

2730:

Pendant portraits of Maerten Soolmans and Oopjen Coppit

2706:

Diana Bathing with her Nymphs with Actaeon and Callisto

536:) – and he also worked more on nocturnal scenes, as in 428:). He began to exploit Drypoint with an early success, 373:– which never failed to inspire him, as can be seen in 193:

However, his six-month stay in Amsterdam in 1624, with

5871:

Rijn, Rembrandt Harmenszoon van; Bevers, Holm (2009).

5854:

Gersaint, Edme-François; Glomy, Jean Baptiste (1906).

1294:

Rembrandt drawing at the window or Rembrandt engraving

5641: 5563: 5446: 5070: 5041: 4984: 4961: 4946: 4927: 4879: 4805: 4301:

Death Appearing to a Wedded Couple from an Open Grave

1729:(unfinished, ca. 1639, etching, drypoint, and burin) 1470:

the large plate (1659, etching, drypoint, and burin)

743:

Self-portrait of Adam von Bartsch in etching (1785).

707:); from guilds, as evidenced by the famous painting 57:, with some prints entirely in true engraving or in 6503:

Rembrandt etchings: from the Frits Lungt Collection

5605:Bosse, Abraham (1602-1676) Auteur du texte (1745). 4389:

A Blind Hurdy-gury Player and Family Receiving Alms

4345:

Woman at a Door-Hatch Talking to a Man and Children

3921:

Self-portrait (?) with Plumed Cap and Lowered Sabre

3798: 3677: 3513: 3362: 3215: 2479: 1669:(Rembrandt's mother?) (1631, Rijksmuseum Amsterdam) 581:

Mendiants recevant l'aumône à la porte d'une maison

6440:. Paris: Arts et métiers graphiques - Flammarion. 6373:A Descriptive Catalogue of the Prints of Rembrandt 6212:See also List of Rembrandt engravings for details. 6103:Eredivisie speelt volgend seizoen met Rembrandtbal 5393:A Descriptive Catalogue of the Prints of Rembrandt 4999:Introduction à la haute école de l'art de peinture 856:A Descriptive Catalogue of the Prints of Rembrandt 5898:Arts (MONTREAL), Montreal Museum of Fine (1969). 4378:Beggar Seated Warming his Hands at a Chafing Dish 4089:Christ driving the money-changers from the Temple 3877:Self-portrait in a soft hat and embroidered cloak 1098:De la manière de graver à l'eau forte et au burin 362:), which "are two masterpieces in their genres". 4158:Christ Presented to the People: the Oblong Plate 365:He collected numerous works of art – notably by 314:He achieved his first success with the painting 2538:Bust of a Man Wearing a Gorget and Plumed Beret 2356:, sold in New York in 1922 to Harlowe et Cie). 1276:Rembrandt with a round hat and embroidered coat 5970:"Christ Preaching (The Hundred Guilder Print)" 5921:"Christ Preaching (The Hundred Guilder Print)" 5165:. Getty Research Institute. London, J. Murray. 4056:Christ Disputing with the Doctors: Small Plate 3965:The Angel Departing from the Family of Tobias, 3415:Self-Portrait Wearing a White Feathered Bonnet 1340:Rembrandt with round hat and embroidered coat. 6576:White, Christopher; Buvelot, Quentin (1999). 5517:"Jan Lievens | Philosopher with an Hourglass" 3998:The Presentation in the Temple with the Angel 3455:Self-Portrait with Beret and Turned-Up Collar 3439:Self-Portrait in a Black Beret and Gold Chain 2436: 2019:The four original pieces reworked by Baillie: 1572:(1635, etching, drypoint, burin, black chalk) 8: 6542:. Rennes: Presses universitaires de Rennes. 5575: 5148:(in French). Firmin Didot, imprimeur du Roi. 4279:Saint Jerome Reading in an Italian Landscape 4202:The Descent from the Cross: the Second Plate 4147:Christ Preaching (The Hundred Guilder Print) 4111:Christ and the Woman of Samaria: among Ruins 2842:The Archangel Raphael Leaving Tobias' Family 843:"Dut." or “Du.": Dutuit (1880 or 1881-1885); 794:preserved. He donated the 375 pieces to the 129:Christ Preaching (The Hundred Guilder Print) 5620:: CS1 maint: numeric names: authors list ( 5218:: CS1 maint: numeric names: authors list ( 4631:Self-portrait in a cap, with eyes wide open 4045:Christ Disputing with the Doctors: a Sketch 3403:Portrait of a Young Man with a Golden Chain 2073:Main interpreters of Rembrandt's engravings 2067:Entering the room of the poor and the camel 530:L'ange disparaît devant la famille de Tobie 24:Self-portrait in a cap, with eyes wide open 5831:"Rare Edition, "Les Cuivres de Rembrandt"" 5817: 5760: 5677: 3102:Ahasuerus and Haman at the Feast of Esther 2443: 2429: 2421: 1740:Landscapes, dead nature and other subjects 866:Collectors' interest in Rembrandt's prints 822:"G.": Gersaint, catalog published in 1751; 6457:Les eaux-fortes authentiques de Rembrandt 5693:Le visage dans l'œuvre gravé de Rembrandt 5658: 5001:. Travaux du grand siècle. Genève: Droz. 4565:Portrait of Dr. Ephraïm Bueno (1599-1665) 1814:(1646, Bibliothèque nationale de France). 1559:L'ensemble des gueux (1628-1631, etching) 1441:” (ca. 1652, etching, drypoint and burin) 1171:the Tête de fou with five or seven boules 899:Le Grand Théâtre des peintres néerlandais 716:Aristotle Contemplating the Bust of Homer 4708:Three Heads of Women, One Lightly Etched 4686:Studies of the Head of Saskia and Others 4136:The Raising of Lazarus: the Larger Plate 1953:Le Christ se disputant avec les docteurs 1431:(ca. 1649, etching, drypoint, and burin) 122: 18: 16:Rembrandt's entire output as an engraver 6429:Rembrandt : Gravure: œuvre complet 6149: 5540:Hollstein, Friedrich Wilhelm Heinrich. 5312: 5235: 4896: 4745: 3264:Portrait of a Man Rising from His Chair 2610:The Anatomy Lesson of Dr. Nicolaes Tulp 2021: 1970:, Rosenwald Collection, Philadelphia), 1738: 1581: 1521:(1653-ca. 1661, Rijksmuseum Amsterdam). 1473: 1374:Jan Uytenbogaert, this “Le Peseur d'Or” 1324: 6557:Renouard de Bussierre, Sophie (1986). 6018: 6016: 5991: 5989: 5915: 5913: 5911: 5813: 5811: 5809: 5673: 5671: 5669: 5667: 5654: 5652: 5650: 5637: 5635: 5633: 5631: 5613: 5559: 5557: 5555: 5553: 5471: 5469: 5467: 5465: 5463: 5461: 5459: 5457: 5455: 5442: 5440: 5438: 5436: 5434: 5432: 5430: 5428: 5373: 5371: 5369: 5367: 5347: 5345: 5343: 5325: 5323: 5321: 5264: 5262: 5231: 5229: 5211: 4367:Beggar Man and Beggar Woman Conversing 2506:Suffer little children to come unto me 730:Historiography of Rembrandt's etchings 6022: 6007: 5995: 5945:"La Pièce aux cent florins (détails)" 5503: 5411:. Petit Palais. Paris: Paris musées. 5407:Renouard de Bussière, Sophie (2006). 5066: 5064: 5062: 5060: 5058: 5056: 5054: 5052: 5050: 5037: 5035: 4980: 4978: 4976: 4974: 4972: 4970: 4957: 4955: 4942: 4940: 4938: 4936: 4923: 4921: 4919: 4917: 4915: 4913: 4911: 4909: 4907: 4905: 4892: 4890: 4888: 4755: 4753: 4751: 4749: 4009:The Rest on the Flight: a Night Piece 3899:Self-Portrait Leaning on a Stone Sill 3094:Moses Breaking the Tablets of the Law 1715:Nature morte, free subjects and nudes 1092:However, according to André Béguin's 554:Saint Jérôme dans une chambre obscure 7: 6559:Petit Palais, Rembrandt: Eaux-fortes 6431:. Paris: Arts et métiers graphiques. 6402:Rembrandt's etchings: true and false 5475: 5377: 5252:introduction sur la vie de Rembrandt 5089:(in French). Chez Hochereau, l'aîné. 5025:Rembrandt and His Critics, 1630-1730 4875: 4873: 4871: 4869: 4867: 4858: 4854: 4852: 4850: 4817: 4801: 4799: 4655:(Saskia in Sainte Catherine), 1638 ( 4466:Landscape with a Road beside a Canal 4268:St. Jerome beside the pollard willow 3976:The Angel Appearing to the Shepherds 3638:Descent from the Cross by Torchlight 2794:Samson Threatening His Father-In-Law 1735:(1646, etching, drypoint, and burin) 1462:Allegorical or mythological subjects 1315:(1647, etching, drypoint, and burin) 1282:Rembrandt with scarf around his neck 764:Supplément au Catalogue de Rembrandt 186:Rembrandt's teachers in Leiden were 5857:Les cuivres de Rembrandt: 1606-1906 5141:Claussin, Ignace Joseph de (1828). 5124:Claussin, Ignace Joseph de (1824). 4312:The Small Lion Hunt (with one lion) 4224:Christ at Emmaus: the Smaller Plate 3371:Self-Portrait with Dishevelled Hair 2373:A small Self-portrait at the Window 2217:Jean-Pierre Norblin de La Gourdaine 1447:(1653-ca. 1661, drypoint and burin) 1094:Dictionnaire technique de l'estampe 546:Le repos pendant la fuite en Égypte 242:Christ at Emmaus: the Smaller Plate 6505:. Paris: Thoth Publishers Bussum. 4532:Portrait of Cornelis Claesz. Anslo 4067:Christ Preaching (La Petite Tombe) 3344:Portrait of a Man with Arms Akimbo 3126:The Conspiracy of Claudius Civilis 2344:And several other anonymous ones. 1941:Les cuivres originaux de Rembrandt 1899:) or reproduced them in aquatint ( 1799:(ca. 1639, Rijksmuseum Amsterdam). 1767:“The Campaign of the Gold Weigher” 1506:(ca. 1652, Rijksmuseum Amsterdam). 1476:Religious or mythological subjects 1457:(1655, drypoint on Japanese paper) 518:The Little Resurrection of Lazarus 451:Portrait of Baldassare Castiglione 53:", the main technique he used was 14: 6520:Middleton, Charles Henry (1878). 6270:See the specific features of the 6261:process in the dedicated article. 6239:See list of Rembrandt engravings. 4831:"Notice de Jacob van Swanenburgh" 4020:The Rest on The Flight into Egypt 3471:Self-Portrait as the Apostle Paul 3070:Jacob Blessing the Sons of Joseph 3062:The Anatomy Lesson of Dr. Deijman 2866:Landscape with the Good Samaritan 1667:Old Woman with Oriental Hairdress 1607:Beggar sitting on a clod of earth 972:Saint Jerome writing under a tree 955:Saint Jerome writing under a tree 615:, as well as works attributed to 316:The Anatomy Lesson of Doctor Tulp 307:. He married the latter's niece, 104:, Rembrandt quickly incorporated 6404:. Stockholm: Esselte Aktiebolag. 5292:. Creative Media Partners, LLC. 5130:(in French). Impr. Firmin Didot. 5083:Gersaint, Edme-François (1751). 4792:(in Italian). Per Santi Franchi. 4719:Three Studies of Old Men’s Heads 3694:Cultural depictions of Rembrandt 3479:Self-Portrait as Zeuxis Laughing 2966:Abraham Serving the Three Angels 2407: 2393: 2269:In the 19th and 20th centuries: 2060: 2048: 2036: 2024: 1804: 1789: 1774: 1759: 1744: 1674: 1659: 1644: 1629: 1614: 1599: 1587: 1541: 1526: 1511: 1496: 1481: 1395: 1380: 1366: 1351: 1332: 831:"Cl.": Claussin (1824 and 1828); 233:Personal style and etching debut 182:Training in Leiden and Amsterdam 6455:Coppier, André-Charles (1929). 5490:Bulletin de l'Alliance des arts 5330:Seidlitz, Woldemar von (1895). 4764:. Paris: Edition Paris Musées. 4697:Sheet of studies of men’s heads 4598:Portrait of Jan Six (1618-1700) 4100:Christ and the Woman of Samaria 3654:The Virgin and Child with a Cat 3328:Portrait of Catharina Hooghsaet 2762:The Prodigal Son in the Brothel 2674:The Storm on the Sea of Galilee 1411:Biblical and religious subjects 875:Rembrandt drawing at the window 770:(1878), another landmark work. 5521:The Metropolitan Museum of Art 5493:(in French). L'Alliance. 1845. 4576:Jan Cornelis Sylvius, preacher 4543:Clement de Jonghe, Printseller 4510:Jan Cornelis Sylvius, Preacher 4246:The Return of the Prodigal Son 3662:Christ Presented to the People 3503:Self-Portrait at the Age of 63 3487:Self-Portrait with Two Circles 3423:Self-Portrait at the Age of 34 3248:Portrait of Jacob de Gheyn III 3198:The Return of the Prodigal Son 3014:Aristotle with a Bust of Homer 2602:Andromeda Chained to the Rocks 2031:Part of the crowd of Pharisees 1784:(1650, Rijksmuseum Amsterdam). 1769:(1651, Rijksmuseum Amsterdam). 1754:(1643, Rijksmuseum Amsterdam). 1639:(1635, Rijksmuseum Amsterdam). 1624:(1635, Rijksmuseum Amsterdam). 1609:(1630, Rijksmuseum Amsterdam). 1536:(1655, Rijksmuseum Amsterdam). 1491:(1633, Rijksmuseum Amsterdam). 1405:(1652, Rijksmuseum Amsterdam). 1390:(1647, Rijksmuseum Amsterdam). 1361:(1636, Rijksmuseum Amsterdam). 1213:landscapes or outdoor scenes ( 444:In 1639, Rembrandt discovered 383:Joseph et la femme de Putiphar 1: 4455:Landscape with a Square Tower 3910:Rembrandt Drawing at a Window 3727: (1954 documentary film) 3142:Syndics of the Drapers' Guild 2834:The Preacher Eleazar Swalmius 2682:A Lady and Gentleman in Black 1797:The Draughtsman and his Model 1684:(1631, Rijksmuseum Amsterdam) 1654:(1641, Rijksmuseum Amsterdam) 1451:Jesus Presented to the People 1255:List of etchings by Rembrandt 1096:, which cites Abraham Bosse ( 1031:Philosopher with an Hourglass 1014:Landscape with a Square Tower 710:Syndics of the Drapers' Guild 344:Annunciation to the shepherds 342:), without success until the 223:Hendrick Cornelisz. van Vliet 6473:Hind, Arthur Mayger (1900). 5860:(in French). Alvin-Beaumont. 5269:Hind, Arthur Mayger (1908). 4785:Baldinucci, Filippo (1681). 4554:Abraham Francen, apothecary, 4499:Jan Antonides van der Linden 4290:St. Jerome in a Dark Chamber 4191:The Crucifixion: Small Plate 2826:Landscape with Arched Bridge 2770:Raising of the Cross (study) 2666:The Shipbuilder and his Wife 2562:The Parable of the Rich Fool 2498:The Stoning of Saint Stephen 2043:Anonymous figure from behind 1873:Landscape with two fishermen 1710:(1651, etching and drypoint) 1708:“La Campagne du peseur d'or” 1704:(1643, etching and drypoint) 1327:Self-portraits and portraits 1296:(1648, etching and drypoint) 837:"Bl.": Blanc (1859 or 1873); 5642:Renouard de Bussierre (1986 5564:Renouard de Bussierre (1986 5447:Renouard de Bussierre (1986 5336:(in German). E. A. Seemann. 5071:Renouard de Bussierre (1986 5042:Renouard de Bussierre (1986 4985:Renouard de Bussierre (1986 4962:Renouard de Bussierre (1986 4947:Renouard de Bussierre (1986 4928:Renouard de Bussierre (1986 4880:Renouard de Bussierre (1986 4806:Renouard de Bussierre (1986 4620:Philosopher with hourglass, 4477:Clump of Trees with a Vista 3296:Portrait of Petronella Buys 3280:Portrait of Marten Soolmans 3256:Aeltje Pietersdr Uylenburgh 3134:Saint Matthew and the Angel 3022:A Woman Bathing in a Stream 2950:The Holy Family with Angels 2934:The Woman Taken in Adultery 2882:The Girl in a Picture Frame 2858:The Wedding Feast of Samson 2546:Tobit and Anna with the Kid 1727:The Draftsman and his Model 1489:La grande Descente de croix 1417:La grande Descente de croix 78:self-portraits by Rembrandt 6626: 6477:. Londres: Methuen and co. 6400:Biörklund, George (1968). 5588:Fialetti, Odoardo (1660). 5105:www.digitale-sammlungen.de 4730:The Circumcision of Christ 3987:The Circumcision of Christ 3954:Joseph and Putiphar's wife 3724:Rembrandt: A Self-Portrait 3534:Joseph and Potiphar's Wife 3150:Homer Dictating his Verses 2890:The Scholar at the Lectern 2072: 2055:Whole Christ in the center 1423:Joseph and Putiphar's Wife 1270:Rembrandt aux yeux hagards 1252: 1132:hydrochloric acid: 125 mL; 293:Joseph and Putiphar's wife 6501:Hinterding, Erik (2008). 6482:Hinterding, Erik (1995). 6274:in the dedicated article. 6100:Eredivisie (2019-04-05). 5710:Hinterding, Erik (2006). 5576:White & Buvelot (1999 5272:The Etchings of Rembrandt 4521:Young Man in a Velvet Cap 4411:The Monk in the Cornfield 3888:Self-portrait with Saskia 3846: 3780:I Am Rembrandt's Daughter 3689:Bibliography of Rembrandt 3395:Self-Portrait in a Gorget 3288:Portrait of Oopjen Coppit 3224:Portrait of Nicolaes Ruts 3182:Young Woman with a Lapdog 3110:The Denial of Saint Peter 2642:Philosopher in Meditation 2634:Old Man with a Gold Chain 2530:The Baptism of the Eunuch 2458: 2354:La Pièce aux cent florins 2305:Claude-Ferdinand Gaillard 2232:Cornelis Ploos van Amstel 2011:La Pièce aux cent florins 1995:La Pièce aux cent florins 1993:One of the four parts of 1429:La Pièce aux cent florins 1419:(1633, etching and burin) 1272:(1630, etching and burin) 1135:potassium chlorate: 25 g; 941: 918:La Pièce aux cent florins 466:The Hundred Guilders Coin 284:Installation in Amsterdam 127:Rembrandt's masterpiece, 6438:Rembrandt: L'Œuvre gravé 5901:Rembrandt and His Pupils 4710:(Saskia), c. 1635-1639 ( 4433:The Woman with the Arrow 3558:The Artist and his Model 3352:Portrait of Dirck van Os 3272:Oval Portrait of a Woman 2874:Still Life with Peacocks 2786:The Entombment of Christ 2586:Anna and the Blind Tobit 2570:The Artist in his Studio 2274:Petrus Johannes Arendzen 2003:The Hundred Guilder Coin 1652:Trois figures orientales 937:Technical considerations 862:, starting on page 133. 787:Œuvre gravé de Rembrandt 729: 649:Pieter Bruegel the Elder 637:Hans Holbein the Younger 597:The Rembrandt collection 478:The Hundred Guilder Coin 36:Dutch Golden Age painter 6436:Boon, Karel G. (1989). 6427:Boon, Karel G. (1963). 6418:Blanc, Charles (1861). 6409:Blanc, Charles (1859). 6370:Wilson, Thomas (1836). 6082:(in French). 2023-02-17 6057:(in French). 2019-02-14 5390:Wilson, Thomas (1836). 5248:Dutuit, Eugène (1883). 5028:(in Dutch). M. Nijhoff. 5022:Slive, Seymour (1952). 4653:The Little Jewish Bride 4609:The First Oriental Head 4488:Cottages beside a Canal 4323:The Strolling Musicians 4257:The Death of the Virgin 3566:The Death of the Virgin 3206:Landscape with a Castle 3078:Courtesan at her Mirror 2650:The Abduction of Europa 2202:Jacques-Philippe Le Bas 1980:Première tête orientale 1844:Première tête orientale 1570:La Grande mariée juive” 1110:asphalt or amber: 25 g. 840:"M.": Middleton (1878); 791:French National Library 633:Lucas Cranach the Elder 422:Jeune couple et la mort 305:Hendrick van Uylenburgh 164:Rembrandt and engraving 6529:Monod, Lucien (1931). 5877:. Getty Publications. 5835:live.brunkauctions.com 5716:. Sound & Vision. 5713:Rembrandt as an Etcher 5354:Catalogue des gravures 4642:The Great Jewish Bride 4122:The Raising of Lazarus 3312:Portrait of Maria Trip 2998:Descent from the Cross 2974:Susanna and the Elders 2818:The Blinding of Samson 2738:Descent from the Cross 2698:Descent from the Cross 2594:The Raising of Lazarus 2333:Charles Albert Waltner 2237:Simon François Ravenet 2156:Dominique Vivant Denon 1998: 1876: 1834: 1637:La Grande mariée juive 1622:La Faiseuse de Koucks. 1576:Three Oriental Figures 1504:Jesus Christ preaching 1435:Jesus Christ Preaching 1236: 1152: 958: 890: 846:"R.": Rovinski (1890); 779:Rembrandt: Eaux-fortes 762:, followed in 1828 by 748:Edme-François Gersaint 744: 641:Maarten van Heemskerck 611:, Pieter Lastman, and 603:He owned paintings by 473: 300: 249: 178: 161: 136: 70:Rembrandt House Museum 31: 6580:. Paris: Flammarion. 6538:Prigot, Aude (2018). 5690:Darmon, Claude-Jean. 4400:Le lit à la française 3606:Hundred Guilder Print 3030:Bathsheba at Her Bath 2658:Adoration of the Magi 2554:The Flight into Egypt 2291:Jean-Baptiste Danguin 2197:Jean-Jacques Lagrenée 2148:Anne Claude de Caylus 2138:Pierre-François Basan 2127:In the 18th century: 1992: 1871: 1832: 1812:Le Lit à la française 1563:La Faiseuse de Koucks 1403:Le Docteur Fautrieus. 1344:Rijksmuseum Amsterdam 1234: 1207:the Armes d'Amsterdam 1150: 1085:Burgundy pitch: 30 g; 1082:teardrop putty: 60 g; 1076:Judean bitumen: 60 g; 953: 942:Rembrandt's technique 883:Rijksmuseum Amsterdam 873: 849:"S.": Seidlitz (1895) 828:"B.": Bartsch (1797); 825:"Da.": Daulby (1796); 796:Musée du Petit Palais 742: 464: 291: 240: 227:Jacques des Rousseaux 188:Jacob van Swanenburgh 176: 148: 143:Hundred Guilder Print 126: 22: 6464:Heer, Ed de (1999). 6112:– via YouTube. 6035:Doridou-Heim, Anne. 4169:Christ before Pilate 3837:Vereniging Rembrandt 3788:The Rembrandt Affair 3772:Rembrandt's J'Accuse 3732:Rembrandt fecit 1669 2906:Concord of the State 2778:The Rape of Ganymede 2690:Raising of the Cross 1945:La Mort de la Vierge 1881:Claude-Henri Watelet 1468:Jupiter and Antiope: 1455:Ecce Homo en largeur 1359:Rembrandt and Saskia 1288:Rembrandt and Saskia 834:"W.": Wilson (1836); 735:Reference historians 84:paper used, and any 6610:Prints by Rembrandt 6524:. Albemarle Street. 5974:collections.mfa.org 5925:collections.mfa.org 5506:, pp. 257–258) 5315:, pp. 109–110) 5176:INHA (2009-02-05). 3622:Goldweigher's Field 3598:Portrait of Jan Six 3320:Portrait of Jan Six 3240:Portrait of a Woman 2802:The Standard Bearer 2626:Christ on the Cross 2618:Christ with a Staff 2313:Charles Paul Landon 1855:Portrait de Jan Six 1388:Portrait de Jan Six 1313:Portrait of Jan Six 1301:Portraits and heads 1235:Various burnishers. 1006:Woman with an Arrow 879:Rembrandt engraving 591:The years 1650–1661 430:Death of the Virgin 352:Grande mariée juive 169:The years 1626–1640 5802:(in French). 1780. 4235:The Good Samaritan 3775:(2008 documentary) 3756:Stealing Rembrandt 3743: (1995 novel) 3740:The Anatomy Lesson 3379:Rembrandt Laughing 2914:David and Jonathan 2746:Belshazzar's Feast 2578:Samson and Delilah 2522:Balaam and the Ass 2415:visual arts portal 2383:In popular culture 2212:Jean-Michel Moreau 2005:by William Baillie 1999: 1877: 1835: 1237: 1153: 1107:tear mastic: 15 g; 959: 891: 745: 474: 356:Faiseuse de koucks 301: 250: 179: 137: 98:Joris van Schooten 32: 6587:978-90-400-9330-2 6549:978-2-7535-7552-3 6512:978-90-6868-417-9 6257:See the complete 5884:978-0-89236-978-2 5723:978-90-77551-39-4 5478:, pp. 46–51) 5418:978-2-87900-967-4 5299:978-1-02-139296-1 5008:978-2-600-01068-9 4771:978-2-905028-10-5 4422:Diana at the Bath 4334:The Pancake Woman 4180:The Three Crosses 4078:The Tribute Money 3943:Abraham and Isaac 3866: 3865: 3751: (1999 film) 3719: (1942 film) 3711: (1940 film) 3703: (1936 film) 3646:The Three Crosses 3336:Portrait of a Man 3304:A Polish Nobleman 3232:Portrait of a Man 3086:Saint Bartholomew 2461:Lists of drawings 2348:On the art market 2295:Alexander Deuchar 1955:: petite plaque ( 1445:The Three Crosses 1104:virgin wax: 30 g; 1088:turpentine: 15 g. 1073:virgin wax: 60 g; 1041:Drawing technique 1025:The Three Crosses 998:The Three Crosses 924:) in 1882. Since 810:Artwork notations 665:Abraham Bloemaert 653:Peter Paul Rubens 629:Martin Schongauer 538:Le Maître d'école 522:Abraham and Isaac 367:Annibale Carracci 100:in Leiden and by 47:old master prints 6617: 6591: 6572: 6561:. Paris Musées. 6553: 6534: 6525: 6516: 6497: 6478: 6469: 6460: 6451: 6432: 6423: 6414: 6405: 6396: 6377: 6376:. J. F. Setchel. 6358: 6354: 6348: 6345: 6339: 6336: 6330: 6327: 6321: 6318: 6312: 6309: 6303: 6300: 6294: 6290: 6284: 6281: 6275: 6268: 6262: 6255: 6249: 6246: 6240: 6237: 6231: 6228: 6222: 6219: 6213: 6210: 6204: 6200: 6194: 6191: 6185: 6182: 6176: 6173: 6167: 6164: 6158: 6154: 6139: 6138: 6136: 6135: 6120: 6114: 6113: 6111: 6110: 6097: 6091: 6090: 6088: 6087: 6072: 6066: 6065: 6063: 6062: 6047: 6041: 6040: 6032: 6026: 6020: 6011: 6005: 5999: 5993: 5984: 5983: 5981: 5980: 5966: 5960: 5959: 5957: 5956: 5941: 5935: 5934: 5932: 5931: 5917: 5906: 5905: 5895: 5889: 5888: 5868: 5862: 5861: 5851: 5845: 5844: 5842: 5841: 5827: 5821: 5818:Hinterding (1995 5815: 5804: 5803: 5794: 5788: 5787: 5785: 5784: 5770: 5764: 5761:Hinterding (1995 5758: 5752: 5751: 5749: 5748: 5734: 5728: 5727: 5707: 5701: 5700: 5698: 5687: 5681: 5678:Hinterding (1995 5675: 5662: 5656: 5645: 5639: 5626: 5625: 5619: 5611: 5602: 5596: 5595: 5585: 5579: 5573: 5567: 5561: 5548: 5547: 5537: 5531: 5530: 5528: 5527: 5513: 5507: 5501: 5495: 5494: 5485: 5479: 5473: 5450: 5444: 5423: 5422: 5404: 5398: 5397: 5396:. J. F. Setchel. 5387: 5381: 5375: 5362: 5361: 5359: 5349: 5338: 5337: 5327: 5316: 5310: 5304: 5303: 5283: 5277: 5276: 5266: 5257: 5256: 5245: 5239: 5233: 5224: 5223: 5217: 5209: 5199: 5193: 5192: 5190: 5189: 5178:"BLANC, Charles" 5173: 5167: 5166: 5156: 5150: 5149: 5138: 5132: 5131: 5121: 5115: 5114: 5112: 5111: 5097: 5091: 5090: 5080: 5074: 5068: 5045: 5039: 5030: 5029: 5019: 5013: 5012: 4994: 4988: 4982: 4965: 4959: 4950: 4944: 4931: 4925: 4900: 4894: 4883: 4877: 4862: 4856: 4845: 4844: 4842: 4841: 4827: 4821: 4815: 4809: 4803: 4794: 4793: 4782: 4776: 4775: 4757: 4699:, c. 1630-1631 ( 4664:A Woman, Reading 4215:, c. 1652-1656 ( 3859: 3852: 3630:Doctor Fautrieus 3550:River with Trees 3158:The Jewish Bride 3038:The Polish Rider 2990:The Kitchen Maid 2850:The Stone Bridge 2514:History Painting 2445: 2438: 2431: 2422: 2417: 2412: 2411: 2403: 2398: 2397: 2166:Robert Dunkarton 2116:Jonas Suyderhoef 2064: 2052: 2040: 2028: 1964:Jan Uytenbogaert 1808: 1793: 1778: 1763: 1752:Les Trois Arbres 1748: 1682:Figure polonaise 1678: 1663: 1648: 1633: 1618: 1603: 1591: 1545: 1530: 1515: 1500: 1485: 1399: 1384: 1370: 1355: 1336: 1319:Doctor Fautrieus 1307:Jan Uytenbogaert 661:Hendrik Goltzius 625:Lucas van Leyden 605:Hercules Seghers 371:Antonio Tempesta 6625: 6624: 6620: 6619: 6618: 6616: 6615: 6614: 6595: 6594: 6588: 6575: 6569: 6556: 6550: 6537: 6528: 6519: 6513: 6500: 6494: 6481: 6472: 6463: 6459:. Firmin-Didot. 6454: 6448: 6435: 6426: 6417: 6408: 6399: 6393: 6380: 6369: 6366: 6361: 6355: 6351: 6346: 6342: 6337: 6333: 6328: 6324: 6319: 6315: 6310: 6306: 6301: 6297: 6291: 6287: 6282: 6278: 6269: 6265: 6256: 6252: 6247: 6243: 6238: 6234: 6229: 6225: 6220: 6216: 6211: 6207: 6201: 6197: 6192: 6188: 6183: 6179: 6174: 6170: 6165: 6161: 6155: 6151: 6147: 6142: 6133: 6131: 6122: 6121: 6117: 6108: 6106: 6099: 6098: 6094: 6085: 6083: 6074: 6073: 6069: 6060: 6058: 6049: 6048: 6044: 6034: 6033: 6029: 6021: 6014: 6006: 6002: 5994: 5987: 5978: 5976: 5968: 5967: 5963: 5954: 5952: 5943: 5942: 5938: 5929: 5927: 5919: 5918: 5909: 5897: 5896: 5892: 5885: 5870: 5869: 5865: 5853: 5852: 5848: 5839: 5837: 5829: 5828: 5824: 5816: 5807: 5796: 5795: 5791: 5782: 5780: 5772: 5771: 5767: 5759: 5755: 5746: 5744: 5742:research.rkd.nl 5736: 5735: 5731: 5724: 5709: 5708: 5704: 5696: 5689: 5688: 5684: 5676: 5665: 5659:Biörklund (1968 5657: 5648: 5640: 5629: 5612: 5604: 5603: 5599: 5587: 5586: 5582: 5574: 5570: 5562: 5551: 5539: 5538: 5534: 5525: 5523: 5515: 5514: 5510: 5502: 5498: 5487: 5486: 5482: 5474: 5453: 5445: 5426: 5419: 5406: 5405: 5401: 5389: 5388: 5384: 5376: 5365: 5357: 5351: 5350: 5341: 5329: 5328: 5319: 5311: 5307: 5300: 5285: 5284: 5280: 5268: 5267: 5260: 5247: 5246: 5242: 5234: 5227: 5210: 5201: 5200: 5196: 5187: 5185: 5175: 5174: 5170: 5158: 5157: 5153: 5140: 5139: 5135: 5123: 5122: 5118: 5109: 5107: 5099: 5098: 5094: 5082: 5081: 5077: 5069: 5048: 5040: 5033: 5021: 5020: 5016: 5009: 4996: 4995: 4991: 4983: 4968: 4960: 4953: 4945: 4934: 4926: 4903: 4895: 4886: 4878: 4865: 4857: 4848: 4839: 4837: 4835:research.rkd.nl 4829: 4828: 4824: 4816: 4812: 4804: 4797: 4784: 4783: 4779: 4772: 4759: 4758: 4747: 4743: 4587:Jan Wtenbogaert 3872: 3867: 3862: 3855: 3850: 3842: 3808:Rembrandt, Iowa 3794: 3680: 3673: 3669:Mughal drawings 3614:Conus Marmoreus 3582:The Three Trees 3542:Bearded Old Man 3521: 3509: 3358: 3211: 3174:David and Uriah 3118:Titus as a Monk 2898:The Night Watch 2475: 2454: 2449: 2413: 2406: 2399: 2392: 2385: 2350: 2342: 2300:Léopold Flameng 2288:Charles Courtry 2281:Firmin Bouisset 2267: 2207:James MacArdell 2184:Valentine Green 2176:Étienne Fessard 2152:Charles Corbutt 2133:William Baillie 2125: 2111:Roelandt Savery 2096:Salomon Koninck 2075: 2068: 2065: 2056: 2053: 2044: 2041: 2032: 2029: 1827: 1825:Existing plates 1822: 1815: 1809: 1800: 1794: 1785: 1779: 1770: 1764: 1755: 1749: 1702:The Three Trees 1698:(1641, etching) 1692: 1685: 1679: 1670: 1664: 1655: 1649: 1640: 1634: 1625: 1619: 1610: 1604: 1595: 1592: 1565:(1635, etching) 1556: 1549: 1546: 1537: 1531: 1522: 1519:Les Trois Croix 1516: 1507: 1501: 1492: 1486: 1464: 1439:The Little Tomb 1425:(1634, etching) 1413: 1406: 1400: 1391: 1385: 1376: 1371: 1362: 1356: 1347: 1337: 1303: 1290:(1636, etching) 1284:(1634, etching) 1266: 1257: 1251: 1249:Selected prints 1162: 1145: 1120: 1066: 944: 939: 812: 737: 732: 674: 621:Andrea Mantegna 609:Adriaen Brouwer 607:, Jan Lievens, 600: 593: 486:Dutch landscape 442: 440:The 1640s–1650s 286: 211:Hercule Seghers 184: 171: 166: 94: 41:was a prolific 17: 12: 11: 5: 6623: 6621: 6613: 6612: 6607: 6597: 6596: 6593: 6592: 6586: 6573: 6567: 6554: 6548: 6535: 6526: 6517: 6511: 6498: 6492: 6479: 6470: 6461: 6452: 6446: 6433: 6424: 6422:. Paris: Gide. 6415: 6413:. Paris: Gide. 6406: 6397: 6391: 6378: 6365: 6362: 6360: 6359: 6349: 6340: 6331: 6322: 6313: 6304: 6295: 6285: 6276: 6263: 6250: 6241: 6232: 6223: 6214: 6205: 6195: 6186: 6177: 6168: 6159: 6148: 6146: 6143: 6141: 6140: 6115: 6092: 6067: 6042: 6027: 6025:, p. 222) 6012: 6010:, p. 210) 6000: 5998:, p. 258) 5985: 5961: 5949:BnF Essentiels 5936: 5907: 5890: 5883: 5863: 5846: 5822: 5805: 5789: 5765: 5753: 5738:"RKD Research" 5729: 5722: 5702: 5682: 5663: 5661:, p. 106) 5646: 5627: 5597: 5580: 5568: 5549: 5546:. Hertzberger. 5532: 5508: 5496: 5480: 5451: 5424: 5417: 5399: 5382: 5380:, p. 133) 5363: 5339: 5317: 5305: 5298: 5278: 5258: 5240: 5225: 5194: 5168: 5151: 5133: 5116: 5092: 5075: 5046: 5044:, p. 201) 5031: 5014: 5007: 4989: 4987:, p. 200) 4966: 4964:, p. 127) 4951: 4949:, p. 126) 4932: 4901: 4884: 4863: 4861:, p. III) 4846: 4822: 4810: 4795: 4777: 4770: 4744: 4742: 4739: 4738: 4737: 4726: 4715: 4704: 4693: 4682: 4671: 4660: 4649: 4638: 4627: 4616: 4605: 4594: 4583: 4572: 4561: 4550: 4539: 4528: 4517: 4506: 4495: 4484: 4473: 4462: 4451: 4444:'Six’s bridge’ 4440: 4429: 4418: 4407: 4396: 4385: 4374: 4363: 4352: 4341: 4330: 4319: 4308: 4297: 4286: 4275: 4264: 4253: 4242: 4231: 4220: 4213:The Entombment 4209: 4198: 4187: 4176: 4165: 4154: 4143: 4132: 4118: 4107: 4096: 4085: 4074: 4063: 4052: 4041: 4027: 4016: 4005: 3994: 3983: 3972: 3961: 3950: 3939: 3928: 3917: 3906: 3895: 3884: 3871: 3868: 3864: 3863: 3861: 3860: 3857:Stolen in 1990 3853: 3847: 3844: 3843: 3841: 3840: 3834: 3826: 3820: 3815: 3813:Rembrandtplein 3810: 3804: 3802: 3796: 3795: 3793: 3792: 3784: 3776: 3768: 3760: 3752: 3744: 3736: 3728: 3720: 3712: 3704: 3696: 3691: 3685: 3683: 3675: 3674: 3672: 3671: 3666: 3658: 3650: 3642: 3634: 3626: 3618: 3610: 3602: 3594: 3586: 3578: 3570: 3562: 3554: 3546: 3538: 3529: 3527: 3511: 3510: 3508: 3507: 3499: 3491: 3483: 3475: 3467: 3459: 3451: 3443: 3435: 3427: 3419: 3411: 3399: 3391: 3383: 3375: 3366: 3364: 3363:Self-portraits 3360: 3359: 3357: 3356: 3348: 3340: 3332: 3324: 3316: 3308: 3300: 3292: 3284: 3276: 3268: 3260: 3252: 3244: 3236: 3228: 3219: 3217: 3213: 3212: 3210: 3209: 3202: 3194: 3186: 3178: 3170: 3162: 3154: 3146: 3138: 3130: 3122: 3114: 3106: 3098: 3090: 3082: 3074: 3066: 3058: 3050: 3046:Slaughtered Ox 3042: 3034: 3026: 3018: 3010: 3006:Saul and David 3002: 2994: 2986: 2982:Head of Christ 2978: 2970: 2962: 2954: 2946: 2942:Joseph's Dream 2938: 2930: 2918: 2910: 2902: 2894: 2886: 2878: 2870: 2862: 2854: 2846: 2838: 2830: 2829:(c. 1636-1637) 2822: 2814: 2806: 2798: 2790: 2782: 2774: 2766: 2758: 2750: 2742: 2734: 2726: 2718: 2710: 2702: 2694: 2686: 2678: 2670: 2662: 2654: 2646: 2638: 2630: 2622: 2614: 2606: 2598: 2597:(c. 1630–1632) 2590: 2582: 2574: 2566: 2558: 2550: 2542: 2534: 2526: 2518: 2510: 2502: 2494: 2485: 2483: 2477: 2476: 2473:self-portraits 2459: 2456: 2455: 2450: 2448: 2447: 2440: 2433: 2425: 2419: 2418: 2404: 2384: 2381: 2349: 2346: 2341: 2340: 2335: 2330: 2325: 2323:Charles Turner 2320: 2318:Hermann Struck 2315: 2310: 2307: 2302: 2297: 2292: 2289: 2286: 2283: 2278: 2275: 2271: 2266: 2265: 2262: 2257: 2254: 2252:Robert Strange 2249: 2244: 2242:John Spilsbury 2239: 2234: 2229: 2227:Bernard Picart 2224: 2222:William Pether 2219: 2214: 2209: 2204: 2199: 2194: 2191: 2189:John Greenwood 2186: 2181: 2178: 2173: 2171:Richard Earlom 2168: 2163: 2158: 2153: 2150: 2145: 2140: 2135: 2129: 2124: 2123: 2118: 2113: 2108: 2106:Pieter Lastman 2103: 2101:Johannes Lutma 2098: 2093: 2088: 2082: 2074: 2071: 2070: 2069: 2066: 2059: 2057: 2054: 2047: 2045: 2042: 2035: 2033: 2030: 2023: 1826: 1823: 1821: 1818: 1817: 1816: 1810: 1803: 1801: 1795: 1788: 1786: 1780: 1773: 1771: 1765: 1758: 1756: 1750: 1743: 1741: 1737: 1736: 1733:The French Bed 1730: 1724: 1712: 1711: 1705: 1699: 1691: 1688: 1687: 1686: 1680: 1673: 1671: 1665: 1658: 1656: 1650: 1643: 1641: 1635: 1628: 1626: 1620: 1613: 1611: 1605: 1598: 1596: 1593: 1586: 1584: 1580: 1579: 1573: 1566: 1560: 1555: 1554:Other subjects 1552: 1551: 1550: 1547: 1540: 1538: 1532: 1525: 1523: 1517: 1510: 1508: 1502: 1495: 1493: 1487: 1480: 1478: 1472: 1471: 1463: 1460: 1459: 1458: 1448: 1442: 1432: 1426: 1420: 1412: 1409: 1408: 1407: 1401: 1394: 1392: 1386: 1379: 1377: 1372: 1365: 1363: 1357: 1350: 1348: 1338: 1331: 1329: 1323: 1322: 1316: 1310: 1302: 1299: 1298: 1297: 1291: 1285: 1279: 1273: 1265: 1264:Self-portraits 1262: 1253:Main article: 1250: 1247: 1161: 1158: 1144: 1141: 1140: 1139: 1136: 1133: 1130: 1119: 1116: 1112: 1111: 1108: 1105: 1090: 1089: 1086: 1083: 1080: 1077: 1074: 1065: 1062: 943: 940: 938: 935: 851: 850: 847: 844: 841: 838: 835: 832: 829: 826: 823: 811: 808: 736: 733: 731: 728: 669:Albrecht Dürer 657:Jacob Jordaens 594: 592: 589: 441: 438: 375:Sainte Famille 285: 282: 203:Adam Elsheimer 195:Pieter Lastman 183: 180: 170: 167: 165: 162: 102:Pieter Lastman 93: 90: 72:in Amsterdam. 15: 13: 10: 9: 6: 4: 3: 2: 6622: 6611: 6608: 6606: 6603: 6602: 6600: 6589: 6583: 6579: 6574: 6570: 6568:2-905028-10-6 6564: 6560: 6555: 6551: 6545: 6541: 6536: 6533:. A. Morancé. 6532: 6527: 6523: 6518: 6514: 6508: 6504: 6499: 6495: 6493:90-400-9744-5 6489: 6485: 6480: 6476: 6471: 6467: 6462: 6458: 6453: 6449: 6447:2-08-012952-X 6443: 6439: 6434: 6430: 6425: 6421: 6416: 6412: 6407: 6403: 6398: 6394: 6392:0-300-05151-4 6388: 6384: 6379: 6375: 6374: 6368: 6367: 6363: 6353: 6350: 6344: 6341: 6335: 6332: 6326: 6323: 6317: 6314: 6308: 6305: 6299: 6296: 6289: 6286: 6280: 6277: 6273: 6267: 6264: 6260: 6254: 6251: 6245: 6242: 6236: 6233: 6227: 6224: 6218: 6215: 6209: 6206: 6199: 6196: 6190: 6187: 6181: 6178: 6172: 6169: 6163: 6160: 6153: 6150: 6144: 6129: 6125: 6119: 6116: 6105: 6104: 6096: 6093: 6081: 6077: 6071: 6068: 6056: 6052: 6046: 6043: 6038: 6031: 6028: 6024: 6019: 6017: 6013: 6009: 6004: 6001: 5997: 5992: 5990: 5986: 5975: 5971: 5965: 5962: 5950: 5946: 5940: 5937: 5926: 5922: 5916: 5914: 5912: 5908: 5903: 5902: 5894: 5891: 5886: 5880: 5876: 5875: 5867: 5864: 5859: 5858: 5850: 5847: 5836: 5832: 5826: 5823: 5820:, p. 59) 5819: 5814: 5812: 5810: 5806: 5801: 5800: 5793: 5790: 5779: 5775: 5769: 5766: 5763:, p. 30) 5762: 5757: 5754: 5743: 5739: 5733: 5730: 5725: 5719: 5715: 5714: 5706: 5703: 5695: 5694: 5686: 5683: 5680:, p. 58) 5679: 5674: 5672: 5670: 5668: 5664: 5660: 5655: 5653: 5651: 5647: 5644:, p. 13) 5643: 5638: 5636: 5634: 5632: 5628: 5623: 5617: 5610: 5609: 5601: 5598: 5594: 5593: 5584: 5581: 5578:, p. 12) 5577: 5572: 5569: 5566:, p. 12) 5565: 5560: 5558: 5556: 5554: 5550: 5545: 5544: 5536: 5533: 5522: 5518: 5512: 5509: 5505: 5500: 5497: 5492: 5491: 5484: 5481: 5477: 5472: 5470: 5468: 5466: 5464: 5462: 5460: 5458: 5456: 5452: 5449:, p. 11) 5448: 5443: 5441: 5439: 5437: 5435: 5433: 5431: 5429: 5425: 5420: 5414: 5410: 5403: 5400: 5395: 5394: 5386: 5383: 5379: 5374: 5372: 5370: 5368: 5364: 5356: 5355: 5348: 5346: 5344: 5340: 5335: 5334: 5326: 5324: 5322: 5318: 5314: 5313:Coppier (1929 5309: 5306: 5301: 5295: 5291: 5290: 5282: 5279: 5274: 5273: 5265: 5263: 5259: 5254: 5253: 5244: 5241: 5237: 5236:Coppier (1929 5232: 5230: 5226: 5221: 5215: 5208: 5207: 5198: 5195: 5183: 5179: 5172: 5169: 5164: 5163: 5155: 5152: 5147: 5146: 5137: 5134: 5129: 5128: 5120: 5117: 5106: 5102: 5096: 5093: 5088: 5087: 5079: 5076: 5072: 5067: 5065: 5063: 5061: 5059: 5057: 5055: 5053: 5051: 5047: 5043: 5038: 5036: 5032: 5027: 5026: 5018: 5015: 5010: 5004: 5000: 4993: 4990: 4986: 4981: 4979: 4977: 4975: 4973: 4971: 4967: 4963: 4958: 4956: 4952: 4948: 4943: 4941: 4939: 4937: 4933: 4930:, p. 31) 4929: 4924: 4922: 4920: 4918: 4916: 4914: 4912: 4910: 4908: 4906: 4902: 4899:, p. 10) 4898: 4897:Coppier (1929 4893: 4891: 4889: 4885: 4882:, p. 30) 4881: 4876: 4874: 4872: 4870: 4868: 4864: 4860: 4855: 4853: 4851: 4847: 4836: 4832: 4826: 4823: 4819: 4814: 4811: 4808:, p. 10) 4807: 4802: 4800: 4796: 4791: 4790: 4781: 4778: 4773: 4767: 4763: 4756: 4754: 4752: 4750: 4746: 4740: 4735: 4731: 4727: 4724: 4720: 4716: 4713: 4709: 4705: 4702: 4698: 4694: 4691: 4687: 4683: 4680: 4676: 4672: 4669: 4665: 4661: 4658: 4654: 4650: 4647: 4643: 4639: 4636: 4632: 4628: 4625: 4621: 4617: 4614: 4610: 4606: 4603: 4599: 4595: 4592: 4588: 4584: 4581: 4577: 4573: 4570: 4566: 4562: 4559: 4555: 4551: 4548: 4544: 4540: 4537: 4533: 4529: 4526: 4522: 4518: 4515: 4511: 4507: 4504: 4500: 4496: 4493: 4489: 4485: 4482: 4478: 4474: 4471: 4467: 4463: 4460: 4456: 4452: 4449: 4445: 4441: 4438: 4434: 4430: 4427: 4423: 4419: 4416: 4412: 4408: 4405: 4401: 4397: 4394: 4390: 4386: 4383: 4379: 4375: 4372: 4368: 4364: 4361: 4357: 4353: 4350: 4346: 4342: 4339: 4335: 4331: 4328: 4324: 4320: 4317: 4313: 4309: 4306: 4302: 4298: 4295: 4291: 4287: 4284: 4280: 4276: 4273: 4269: 4265: 4262: 4258: 4254: 4251: 4247: 4243: 4240: 4236: 4232: 4229: 4225: 4221: 4218: 4214: 4210: 4207: 4203: 4199: 4196: 4192: 4188: 4185: 4181: 4177: 4174: 4170: 4166: 4163: 4159: 4155: 4152: 4148: 4144: 4141: 4137: 4133: 4130: 4126: 4125: 4119: 4116: 4112: 4108: 4105: 4101: 4097: 4094: 4090: 4086: 4083: 4079: 4075: 4072: 4068: 4064: 4061: 4057: 4053: 4050: 4046: 4042: 4039: 4035: 4032: 4028: 4025: 4021: 4017: 4014: 4010: 4006: 4003: 3999: 3995: 3992: 3988: 3984: 3981: 3977: 3973: 3970: 3966: 3962: 3959: 3955: 3951: 3948: 3944: 3940: 3937: 3933: 3929: 3926: 3922: 3918: 3915: 3911: 3907: 3904: 3900: 3896: 3893: 3889: 3885: 3882: 3878: 3874: 3873: 3869: 3858: 3854: 3849: 3848: 3845: 3838: 3835: 3832: 3831: 3827: 3824: 3821: 3819: 3818:Rembrandtpark 3816: 3814: 3811: 3809: 3806: 3805: 3803: 3801: 3797: 3790: 3789: 3785: 3782: 3781: 3777: 3774: 3773: 3769: 3766: 3765: 3764:Nightwatching 3761: 3758: 3757: 3753: 3750: 3749: 3745: 3742: 3741: 3737: 3734: 3733: 3729: 3726: 3725: 3721: 3718: 3717: 3713: 3710: 3709: 3705: 3702: 3701: 3697: 3695: 3692: 3690: 3687: 3686: 3684: 3682: 3676: 3670: 3667: 3664: 3663: 3659: 3656: 3655: 3651: 3648: 3647: 3643: 3640: 3639: 3635: 3632: 3631: 3627: 3624: 3623: 3619: 3616: 3615: 3611: 3608: 3607: 3603: 3600: 3599: 3595: 3592: 3591: 3590:The State Bed 3587: 3584: 3583: 3579: 3576: 3575: 3571: 3568: 3567: 3563: 3560: 3559: 3555: 3552: 3551: 3547: 3544: 3543: 3539: 3536: 3535: 3531: 3530: 3528: 3525: 3520: 3516: 3512: 3505: 3504: 3500: 3497: 3496: 3495:Self-Portrait 3492: 3489: 3488: 3484: 3481: 3480: 3476: 3473: 3472: 3468: 3465: 3464: 3463:Self-Portrait 3460: 3457: 3456: 3452: 3449: 3448: 3447:Self-Portrait 3444: 3441: 3440: 3436: 3433: 3432: 3431:Self-Portrait 3428: 3425: 3424: 3420: 3417: 3416: 3412: 3409: 3405: 3404: 3400: 3397: 3396: 3392: 3389: 3388: 3387:Self-Portrait 3384: 3381: 3380: 3376: 3373: 3372: 3368: 3367: 3365: 3361: 3354: 3353: 3349: 3346: 3345: 3341: 3338: 3337: 3333: 3330: 3329: 3325: 3322: 3321: 3317: 3314: 3313: 3309: 3306: 3305: 3301: 3298: 3297: 3293: 3290: 3289: 3285: 3282: 3281: 3277: 3274: 3273: 3269: 3266: 3265: 3261: 3258: 3257: 3253: 3250: 3249: 3245: 3242: 3241: 3237: 3234: 3233: 3229: 3226: 3225: 3221: 3220: 3218: 3214: 3208: 3207: 3203: 3200: 3199: 3195: 3192: 3191: 3187: 3184: 3183: 3179: 3176: 3175: 3171: 3168: 3167: 3163: 3160: 3159: 3155: 3152: 3151: 3147: 3144: 3143: 3139: 3136: 3135: 3131: 3128: 3127: 3123: 3120: 3119: 3115: 3112: 3111: 3107: 3104: 3103: 3099: 3096: 3095: 3091: 3088: 3087: 3083: 3080: 3079: 3075: 3072: 3071: 3067: 3064: 3063: 3059: 3056: 3055: 3054:Pallas Athene 3051: 3048: 3047: 3043: 3040: 3039: 3035: 3032: 3031: 3027: 3024: 3023: 3019: 3016: 3015: 3011: 3008: 3007: 3003: 3000: 2999: 2995: 2992: 2991: 2987: 2984: 2983: 2979: 2976: 2975: 2971: 2968: 2967: 2963: 2960: 2959: 2955: 2952: 2951: 2947: 2944: 2943: 2939: 2936: 2935: 2931: 2928: 2927: 2923: 2919: 2916: 2915: 2911: 2908: 2907: 2903: 2900: 2899: 2895: 2892: 2891: 2887: 2884: 2883: 2879: 2876: 2875: 2871: 2868: 2867: 2863: 2860: 2859: 2855: 2852: 2851: 2847: 2844: 2843: 2839: 2836: 2835: 2831: 2828: 2827: 2823: 2820: 2819: 2815: 2812: 2811: 2807: 2804: 2803: 2799: 2796: 2795: 2791: 2788: 2787: 2783: 2780: 2779: 2775: 2772: 2771: 2767: 2764: 2763: 2759: 2756: 2755: 2751: 2748: 2747: 2743: 2740: 2739: 2735: 2732: 2731: 2727: 2724: 2723: 2719: 2716: 2715: 2711: 2708: 2707: 2703: 2700: 2699: 2695: 2692: 2691: 2687: 2684: 2683: 2679: 2676: 2675: 2671: 2668: 2667: 2663: 2660: 2659: 2655: 2652: 2651: 2647: 2644: 2643: 2639: 2636: 2635: 2631: 2628: 2627: 2623: 2620: 2619: 2615: 2612: 2611: 2607: 2604: 2603: 2599: 2596: 2595: 2591: 2588: 2587: 2583: 2580: 2579: 2575: 2572: 2571: 2567: 2564: 2563: 2559: 2556: 2555: 2551: 2548: 2547: 2543: 2540: 2539: 2535: 2532: 2531: 2527: 2524: 2523: 2519: 2516: 2515: 2511: 2508: 2507: 2503: 2500: 2499: 2495: 2492: 2491: 2487: 2486: 2484: 2482: 2478: 2474: 2470: 2466: 2462: 2457: 2453: 2446: 2441: 2439: 2434: 2432: 2427: 2426: 2423: 2416: 2410: 2405: 2402: 2396: 2391: 2389: 2382: 2380: 2376: 2374: 2368: 2364: 2361: 2357: 2355: 2347: 2345: 2339: 2336: 2334: 2331: 2329: 2328:Wilhelm Unger 2326: 2324: 2321: 2319: 2316: 2314: 2311: 2308: 2306: 2303: 2301: 2298: 2296: 2293: 2290: 2287: 2285:Jan Claessens 2284: 2282: 2279: 2277:Charles Baude 2276: 2273: 2272: 2270: 2263: 2261: 2258: 2256:Louis Surugue 2255: 2253: 2250: 2248: 2245: 2243: 2240: 2238: 2235: 2233: 2230: 2228: 2225: 2223: 2220: 2218: 2215: 2213: 2210: 2208: 2205: 2203: 2200: 2198: 2195: 2193:Johann Jacobé 2192: 2190: 2187: 2185: 2182: 2179: 2177: 2174: 2172: 2169: 2167: 2164: 2162: 2159: 2157: 2154: 2151: 2149: 2146: 2144: 2141: 2139: 2136: 2134: 2131: 2130: 2128: 2122: 2121:Jan van Vliet 2119: 2117: 2114: 2112: 2109: 2107: 2104: 2102: 2099: 2097: 2094: 2092: 2089: 2087: 2084: 2083: 2081: 2078: 2063: 2058: 2051: 2046: 2039: 2034: 2027: 2022: 2020: 2017: 2014: 2012: 2007: 2006: 2004: 1996: 1991: 1987: 1985: 1981: 1977: 1973: 1969: 1965: 1960: 1958: 1954: 1950: 1946: 1942: 1936: 1934: 1930: 1926: 1922: 1918: 1914: 1910: 1906: 1902: 1898: 1894: 1890: 1886: 1882: 1874: 1870: 1866: 1862: 1860: 1856: 1851: 1849: 1845: 1841: 1831: 1824: 1820:Copper plates 1819: 1813: 1807: 1802: 1798: 1792: 1787: 1783: 1782:Le Coquillage 1777: 1772: 1768: 1762: 1757: 1753: 1747: 1742: 1739: 1734: 1731: 1728: 1725: 1722: 1719: 1718: 1717: 1716: 1709: 1706: 1703: 1700: 1697: 1694: 1693: 1689: 1683: 1677: 1672: 1668: 1662: 1657: 1653: 1647: 1642: 1638: 1632: 1627: 1623: 1617: 1612: 1608: 1602: 1597: 1590: 1585: 1582: 1577: 1574: 1571: 1567: 1564: 1561: 1558: 1557: 1553: 1544: 1539: 1535: 1529: 1524: 1520: 1514: 1509: 1505: 1499: 1494: 1490: 1484: 1479: 1477: 1474: 1469: 1466: 1465: 1461: 1456: 1452: 1449: 1446: 1443: 1440: 1436: 1433: 1430: 1427: 1424: 1421: 1418: 1415: 1414: 1410: 1404: 1398: 1393: 1389: 1383: 1378: 1375: 1369: 1364: 1360: 1354: 1349: 1345: 1341: 1335: 1330: 1328: 1325: 1320: 1317: 1314: 1311: 1308: 1305: 1304: 1300: 1295: 1292: 1289: 1286: 1283: 1280: 1277: 1274: 1271: 1268: 1267: 1263: 1261: 1256: 1248: 1246: 1242: 1241: 1233: 1229: 1227: 1222: 1220: 1216: 1210: 1208: 1205:, B. 86) and 1204: 1200: 1196: 1192: 1188: 1184: 1180: 1176: 1172: 1166: 1159: 1157: 1149: 1142: 1137: 1134: 1131: 1128: 1127: 1126: 1123: 1117: 1115: 1109: 1106: 1103: 1102: 1101: 1099: 1095: 1087: 1084: 1081: 1078: 1075: 1072: 1071: 1070: 1063: 1061: 1058: 1056: 1052: 1048: 1043: 1042: 1038: 1036: 1032: 1028: 1026: 1021: 1019: 1015: 1011: 1007: 1003: 999: 994: 991: 989: 985: 981: 977: 973: 967: 963: 956: 952: 948: 936: 934: 930: 927: 923: 919: 915: 909: 907: 902: 900: 897:(in French, “ 896: 888: 884: 880: 876: 872: 868: 867: 863: 861: 857: 848: 845: 842: 839: 836: 833: 830: 827: 824: 821: 820: 819: 816: 809: 807: 803: 799: 797: 792: 788: 784: 783:Eugène Dutuit 780: 775: 771: 769: 765: 761: 755: 753: 749: 741: 734: 727: 725: 720: 718: 717: 712: 711: 706: 702: 697: 693: 689: 688: 684: 682: 677: 672: 670: 666: 662: 658: 654: 650: 646: 642: 638: 634: 630: 626: 622: 618: 614: 610: 606: 599: 598: 590: 588: 586: 582: 578: 574: 570: 566: 561: 559: 555: 551: 547: 543: 539: 535: 531: 527: 523: 519: 513: 511: 507: 503: 499: 495: 491: 487: 483: 479: 471: 467: 463: 459: 455: 453: 452: 447: 439: 437: 435: 431: 427: 423: 419: 415: 411: 407: 403: 399: 395: 390: 388: 384: 380: 376: 372: 368: 363: 361: 357: 354:(B. 340) and 353: 349: 345: 341: 337: 333: 329: 325: 321: 317: 312: 310: 306: 298: 294: 290: 283: 281: 279: 275: 271: 267: 261: 259: 255: 247: 243: 239: 235: 234: 230: 228: 224: 220: 214: 212: 208: 204: 200: 196: 191: 189: 181: 175: 168: 163: 160: 157: 154: 151: 147: 145: 144: 134: 130: 125: 121: 117: 115: 111: 107: 103: 99: 91: 89: 87: 81: 79: 73: 71: 67: 62: 60: 56: 52: 48: 44: 40: 37: 29: 25: 21: 6577: 6558: 6539: 6530: 6521: 6502: 6483: 6474: 6465: 6456: 6437: 6428: 6419: 6410: 6401: 6382: 6372: 6364:Bibliography 6352: 6343: 6334: 6325: 6316: 6307: 6298: 6288: 6279: 6266: 6253: 6244: 6235: 6226: 6217: 6208: 6198: 6189: 6180: 6171: 6162: 6152: 6132:. Retrieved 6127: 6118: 6107:. Retrieved 6102: 6095: 6084:. Retrieved 6079: 6070: 6059:. Retrieved 6054: 6045: 6036: 6030: 6003: 5977:. Retrieved 5973: 5964: 5953:. Retrieved 5948: 5939: 5928:. Retrieved 5924: 5900: 5893: 5873: 5866: 5856: 5849: 5838:. Retrieved 5834: 5825: 5798: 5792: 5781:. Retrieved 5777: 5768: 5756: 5745:. Retrieved 5741: 5732: 5712: 5705: 5692: 5685: 5607: 5600: 5590: 5583: 5571: 5542: 5535: 5524:. Retrieved 5520: 5511: 5499: 5489: 5483: 5408: 5402: 5392: 5385: 5353: 5332: 5308: 5288: 5281: 5271: 5255:(in French). 5250: 5243: 5238:, p. 9) 5204: 5197: 5186:. Retrieved 5181: 5171: 5161: 5154: 5143: 5136: 5126: 5119: 5108:. Retrieved 5104: 5095: 5085: 5078: 5073:, p. 9) 5024: 5017: 4998: 4992: 4838:. Retrieved 4834: 4825: 4820:, p. I) 4813: 4787: 4780: 4761: 4729: 4718: 4707: 4696: 4685: 4674: 4663: 4652: 4641: 4630: 4619: 4608: 4597: 4586: 4575: 4564: 4553: 4542: 4531: 4520: 4509: 4498: 4487: 4476: 4465: 4454: 4443: 4432: 4421: 4410: 4399: 4388: 4377: 4366: 4355: 4344: 4333: 4322: 4311: 4300: 4289: 4278: 4267: 4256: 4245: 4234: 4223: 4212: 4201: 4190: 4179: 4168: 4157: 4146: 4135: 4123: 4121: 4110: 4099: 4088: 4077: 4066: 4055: 4044: 4033: 4030: 4019: 4008: 3997: 3986: 3975: 3964: 3953: 3942: 3932:Adam and Eve 3931: 3920: 3909: 3898: 3887: 3876: 3839:(foundation) 3828: 3791:(2010 novel) 3786: 3783:(2008 novel) 3778: 3770: 3762: 3754: 3746: 3738: 3730: 3722: 3714: 3706: 3698: 3660: 3652: 3644: 3636: 3628: 3620: 3612: 3604: 3596: 3588: 3580: 3572: 3564: 3556: 3548: 3540: 3532: 3501: 3493: 3485: 3477: 3469: 3461: 3453: 3445: 3437: 3429: 3421: 3413: 3407: 3401: 3393: 3385: 3377: 3369: 3350: 3342: 3334: 3326: 3318: 3310: 3302: 3294: 3286: 3278: 3270: 3262: 3254: 3246: 3238: 3230: 3222: 3204: 3196: 3188: 3180: 3172: 3164: 3156: 3148: 3140: 3132: 3124: 3116: 3108: 3100: 3092: 3084: 3076: 3068: 3060: 3052: 3044: 3036: 3028: 3020: 3012: 3004: 2996: 2988: 2980: 2972: 2964: 2956: 2948: 2940: 2932: 2925: 2921: 2912: 2904: 2896: 2888: 2880: 2872: 2864: 2856: 2848: 2840: 2832: 2824: 2816: 2808: 2800: 2792: 2784: 2776: 2768: 2760: 2752: 2744: 2736: 2728: 2720: 2712: 2704: 2696: 2688: 2680: 2672: 2664: 2656: 2648: 2640: 2632: 2624: 2616: 2608: 2600: 2592: 2584: 2576: 2568: 2560: 2552: 2544: 2536: 2528: 2520: 2512: 2504: 2496: 2488: 2386: 2377: 2372: 2369: 2365: 2362: 2358: 2353: 2351: 2343: 2309:Karl Köpping 2268: 2143:John Boydell 2126: 2086:Willem Drost 2079: 2076: 2018: 2015: 2010: 2008: 2002: 2001: 2000: 1994: 1979: 1971: 1963: 1961: 1952: 1944: 1940: 1937: 1878: 1872: 1863: 1854: 1852: 1843: 1836: 1811: 1796: 1781: 1766: 1751: 1732: 1726: 1721:The Seashell 1720: 1714: 1713: 1707: 1701: 1695: 1681: 1666: 1651: 1636: 1621: 1606: 1575: 1569: 1562: 1533: 1518: 1503: 1488: 1475: 1467: 1454: 1450: 1444: 1438: 1434: 1428: 1422: 1416: 1402: 1387: 1373: 1358: 1339: 1326: 1318: 1312: 1306: 1293: 1287: 1281: 1275: 1269: 1258: 1243: 1239: 1238: 1223: 1211: 1206: 1170: 1167: 1163: 1154: 1124: 1121: 1113: 1097: 1093: 1091: 1079:resin: 30 g; 1067: 1064:Soft varnish 1059: 1044: 1040: 1039: 1030: 1029: 1024: 1022: 1013: 1005: 997: 995: 992: 971: 968: 964: 960: 954: 945: 931: 917: 910: 903: 898: 894: 892: 878: 874: 865: 864: 859: 855: 852: 817: 813: 804: 800: 786: 778: 776: 772: 767: 763: 759: 756: 751: 746: 721: 714: 708: 700: 698: 694: 690: 686: 685: 678: 675: 645:Frans Floris 602: 596: 595: 580: 572: 564: 562: 553: 545: 537: 529: 521: 520:(B. 72) and 517: 514: 485: 477: 475: 465: 456: 449: 443: 429: 421: 391: 382: 374: 364: 355: 351: 343: 315: 313: 302: 292: 262: 251: 241: 232: 231: 215: 192: 185: 158: 155: 152: 149: 141: 138: 128: 118: 95: 82: 74: 63: 33: 23: 6130:(in French) 6023:Monod (1931 6008:Monod (1931 5996:Monod (1931 5951:(in French) 5504:Blanc (1859 5184:(in French) 4734:see artwork 4732:, c. 1626 ( 4723:see artwork 4721:, c. 1630 ( 4712:see artwork 4701:see artwork 4690:see artwork 4679:see artwork 4668:see artwork 4657:see artwork 4646:see artwork 4635:see artwork 4624:see artwork 4613:see artwork 4602:see artwork 4591:see artwork 4580:see artwork 4569:see artwork 4558:see artwork 4547:see artwork 4536:see artwork 4525:see artwork 4514:see artwork 4503:see artwork 4492:see artwork 4490:, c. 1645 ( 4481:see artwork 4470:see artwork 4468:, c. 1652 ( 4459:see artwork 4448:see artwork 4437:see artwork 4426:see artwork 4424:, c. 1631 ( 4415:see artwork 4413:, c. 1646 ( 4404:see artwork 4393:see artwork 4382:see artwork 4380:, c. 1630 ( 4371:see artwork 4360:see artwork 4356:The Persian 4349:see artwork 4338:see artwork 4327:see artwork 4325:, c. 1635 ( 4316:see artwork 4314:, c. 1629 ( 4305:see artwork 4294:see artwork 4283:see artwork 4281:, c. 1653 ( 4272:see artwork 4261:see artwork 4250:see artwork 4239:see artwork 4228:see artwork 4217:see artwork 4206:see artwork 4195:see artwork 4193:, c. 1635 ( 4184:see artwork 4173:see artwork 4162:see artwork 4151:see artwork 4149:, c. 1649 ( 4140:see artwork 4138:, c. 1632 ( 4129:see artwork 4115:see artwork 4104:see artwork 4093:see artwork 4082:see artwork 4080:, c. 1635 ( 4071:see artwork 4069:, c. 1652 ( 4060:see artwork 4049:see artwork 4038:see artwork 4036:, c. 1632 ( 4034:Holy Family 4024:see artwork 4022:, c. 1626 ( 4013:see artwork 4011:, c. 1644 ( 4002:see artwork 3991:see artwork 3989:, c. 1630 ( 3980:see artwork 3969:see artwork 3958:see artwork 3947:see artwork 3936:see artwork 3925:see artwork 3914:see artwork 3903:see artwork 3892:see artwork 3881:see artwork 3767:(2007 film) 3759:(2003 film) 3735:(1977 film) 3679:Works about 3609:(1647–1649) 3522:(including 3490:(1665–1669) 3201:(1662–1669) 3001:(1650–1652) 2961:(1645–1648) 2661:(1632–1633) 2338:Anders Zorn 2264:Franz Wrenk 2247:Jan Stolker 2091:Jan Lievens 1138:salt: 25 g. 1129:Water: 1 L; 114:Jan Lievens 106:chiaroscuro 96:Trained by 6599:Categories 6486:. Zwolle. 6134:2024-08-01 6109:2024-08-01 6086:2024-08-01 6061:2024-08-01 5979:2024-07-31 5955:2024-07-31 5930:2024-07-31 5840:2024-07-31 5783:2024-07-31 5747:2024-07-30 5526:2024-07-29 5476:Heer (1999 5378:Hind (1900 5188:2024-07-29 5110:2024-07-29 4859:Boon (1963 4840:2024-07-27 4818:Boon (1963 4789:perfezione 4741:References 3009:(c. 1652) 2490:The Senses 2401:art portal 2260:James Ward 2180:Jacob Gole 2161:John Dixon 1690:Landscapes 1240:Retouching 687:Last years 681:Hendrickje 573:La Liseuse 219:Gerrit Dou 207:Caravaggio 199:Jan Pynasc 86:watermarks 51:engravings 43:printmaker 6605:Rembrandt 6272:dry point 6080:Le Figaro 6055:Les Echos 5778:Sotheby's 5616:cite book 5214:cite book 4556:c. 1657 ( 3851:Contested 3830:Rembrandt 3823:Rembrandt 3800:Namesakes 3748:Rembrandt 3716:Rembrandt 3708:Rembrandt 3700:Rembrandt 3681:Rembrandt 3498:(c. 1669) 3355:(c. 1662) 3216:Portraits 3177:(c. 1665) 3057:(c. 1655) 2877:(c. 1639) 2773:(c. 1635) 2765:(c. 1635) 2722:Artemisia 2637:(c. 1631) 2589:(c. 1630) 2581:(1629–30) 2549:(c. 1626) 2493:(1624–25) 2481:Paintings 2469:paintings 2452:Rembrandt 1879:In 1767, 957:(B. 103). 617:Giorgione 613:Jan Pynas 565:Le Persan 108:into his 39:Rembrandt 6357:website. 6128:L'Équipe 5206:Blanc... 4728:B. 398, 4717:B. 374, 4695:B. 366, 4688:, 1636 ( 4684:B. 365, 4677:, 1631 ( 4673:B. 349, 4666:, 1634 ( 4662:B. 345, 4651:B. 342, 4644:, 1635 ( 4640:B. 340, 4633:, 1630 ( 4629:B. 320, 4618:B. 318, 4611:, 1635 ( 4607:B. 286, 4600:, 1647 ( 4596:B. 285, 4589:, 1639 ( 4585:B. 281, 4578:, 1646 ( 4574:B. 280, 4567:, 1647 ( 4563:B. 278, 4552:B. 273, 4545:, 1651 ( 4541:B. 272, 4534:, 1641 ( 4530:B. 271, 4523:, 1637 ( 4519:B. 268, 4512:, 1633 ( 4508:B. 266, 4501:, 1665 ( 4497:B. 264, 4486:B. 228, 4479:, 1652 ( 4475:B. 222, 4464:B. 221, 4457:, 1650 ( 4453:B. 218, 4446:, 1645 ( 4442:B. 208, 4435:, 1661 ( 4431:B. 202, 4420:B. 201, 4409:B. 187, 4402:, 1646 ( 4398:B. 186, 4391:, 1648 ( 4387:B. 176, 4376:B. 173, 4369:, 1630 ( 4365:B. 164, 4358:, 1632 ( 4354:B. 152, 4347:, 1641 ( 4343:B. 128, 4336:, 1635 ( 4332:B. 124, 4321:B. 119, 4310:B. 116, 4303:, 1639 ( 4299:B. 109, 4292:, 1642 ( 4288:B. 105, 4277:B. 104, 4270:, 1648 ( 4266:B. 103, 4259:, 1639 ( 4248:, 1636 ( 4237:, 1633 ( 4226:, 1634 ( 4204:, 1633 ( 4182:, 1653 ( 4171:, 1636 ( 4160:, 1655 ( 4113:, 1634 ( 4102:, 1658 ( 4091:, 1635 ( 4058:, 1630 ( 4047:, 1652 ( 4000:, 1630 ( 3978:, 1634 ( 3956:, 1634 ( 3945:, 1645 ( 3934:, 1638 ( 3923:, 1634 ( 3912:, 1648 ( 3901:, 1639 ( 3890:, 1636 ( 3879:, 1631 ( 3825:(crater) 3574:The Mill 3524:etchings 3515:Drawings 3408:disputed 3406:(1635) ( 3398:(c.1629) 3190:Lucretia 3166:Lucretia 2958:The Mill 2465:etchings 1696:The Mill 1583:Subjects 1118:The acid 420:) or in 110:etchings 92:Overview 59:drypoint 6259:etching 6203:pupils. 6157:pupil". 5182:inha.fr 5145:dessins 4706:B. 367, 4622:n. d. ( 4255:B. 99, 4244:B. 91, 4233:B. 90, 4222:B. 88, 4211:B. 86, 4200:B. 81, 4189:B. 80, 4178:B. 78, 4167:B. 77, 4156:B. 76, 4145:B. 74, 4134:B. 73, 4120:B. 72, 4109:B. 71, 4098:B. 70, 4087:B. 69, 4076:B. 68, 4065:B. 67, 4054:B. 66, 4043:B. 65, 4029:B. 62, 4018:B. 59, 4007:B. 57, 3996:B. 51, 3985:B. 48, 3974:B. 44, 3963:B. 43, 3952:B. 39, 3941:B. 34, 3930:B. 28, 3919:B. 23, 3908:B. 22, 3897:B. 21, 3886:B. 19, 3833:(train) 3169:(1664) 3041:(1655) 2754:Minerva 2677:(1633) 2509:(1620s) 1972:Jan Six 1342:(1631, 1160:Support 881:(1648) 701:Jan Six 446:Raphael 55:etching 6584: 6565: 6546: 6509: 6490: 6444: 6389: 5881: 5720: 5415: 5296: 5005: 4768: 4127:1642 ( 3967:1641 ( 3875:B. 7, 3665:(1655) 3657:(1654) 3649:(1653) 3641:(1652) 3633:(1652) 3625:(1651) 3617:(1650) 3601:(1647) 3593:(1646) 3585:(1643) 3577:(1641) 3569:(1639) 3561:(1639) 3553:(1634) 3545:(1634) 3537:(1634) 3519:prints 3506:(1669) 3482:(1662) 3474:(1662) 3466:(1660) 3458:(1659) 3450:(1658) 3442:(1654) 3434:(1652) 3426:(1640) 3418:(1635) 3390:(1629) 3382:(1628) 3374:(1628) 3347:(1658) 3339:(1657) 3331:(1657) 3323:(1654) 3315:(1639) 3307:(1637) 3299:(1635) 3291:(1634) 3283:(1634) 3275:(1633) 3267:(1633) 3259:(1632) 3251:(1632) 3243:(1632) 3235:(1632) 3227:(1631) 3193:(1666) 3185:(1665) 3161:(1664) 3153:(1663) 3145:(1662) 3137:(1661) 3129:(1661) 3121:(1660) 3113:(1660) 3105:(1660) 3097:(1659) 3089:(1657) 3081:(1657) 3073:(1656) 3065:(1656) 3049:(1655) 3033:(1654) 3025:(1654) 3017:(1653) 2993:(1651) 2985:(1648) 2977:(1647) 2969:(1646) 2953:(1645) 2945:(1645) 2937:(1644) 2929:(1643) 2917:(1642) 2909:(1642) 2901:(1642) 2893:(1641) 2885:(1641) 2869:(1638) 2861:(1638) 2853:(1637) 2845:(1637) 2837:(1637) 2821:(1636) 2813:(1636) 2805:(1636) 2797:(1635) 2789:(1635) 2781:(1635) 2757:(1635) 2749:(1635) 2741:(1634) 2733:(1634) 2725:(1634) 2717:(1634) 2709:(1634) 2701:(1633) 2693:(1633) 2685:(1633) 2669:(1633) 2653:(1632) 2645:(1632) 2629:(1631) 2621:(1631) 2613:(1631) 2605:(1631) 2573:(1628) 2565:(1627) 2557:(1627) 2541:(1626) 2533:(1626) 2525:(1626) 2517:(1626) 2501:(1625) 1984:B. 286 1978:) and 1976:B. 285 1968:B. 281 1951:) and 1933:B. 268 1929:B. 128 1897:B. 349 1893:B. 273 1889:B. 119 1859:B. 285 1848:B. 286 1842:) and 1840:B. 281 1437:, or “ 1219:B. 104 1191:B. 272 1187:B. 103 1179:B. 266 1175:B. 116 1143:Inking 1055:B. 272 1051:B. 271 1047:B. 201 1035:B. 318 1018:B. 218 1010:B. 202 988:B. 221 984:B. 222 976:B. 103 926:Dutuit 906:B. 272 724:B. 264 705:B. 285 585:B. 176 577:B. 345 569:B. 152 558:B. 105 552:) and 542:B. 128 510:B. 278 506:B. 285 502:B. 186 498:B. 187 494:B. 208 490:B. 228 426:B. 109 418:B. 342 414:B. 367 410:B. 365 381:) and 360:B. 124 309:Saskia 278:B. 173 254:(B. 88 66:states 28:B. 320 6145:Notes 5697:(PDF) 5358:(PDF) 2810:Danaë 2714:Flora 1957:B. 66 1949:B. 99 1925:B. 86 1921:B. 80 1917:B. 68 1913:B. 67 1909:B. 62 1905:B. 43 1901:B. 19 1885:B. 69 1453:, or 1226:B. 86 1215:B. 70 1203:B. 78 1199:B. 67 1195:B. 65 1183:B. 21 1002:B. 78 980:B. 76 922:B. 74 914:B. 22 887:B. 22 571:) or 550:B. 57 534:B. 43 526:B. 34 482:B. 74 470:B. 74 434:B. 99 406:B. 91 402:B. 28 398:B. 91 394:B. 21 387:B. 39 379:B. 62 348:B. 44 340:B. 77 336:B. 90 332:B. 81 328:B. 73 324:B. 23 297:B. 39 274:B. 66 270:B. 48 266:B. 59 258:B. 51 246:B. 88 133:B. 74 6582:ISBN 6563:ISBN 6544:ISBN 6507:ISBN 6488:ISBN 6442:ISBN 6387:ISBN 5879:ISBN 5718:ISBN 5622:link 5413:ISBN 5294:ISBN 5220:link 5003:ISBN 4766:ISBN 3517:and 2926:Ruth 2924:and 2922:Boaz 663:and 369:and 320:B. 7 225:and 205:and 197:and 34:The 4031:The 1959:). 1057:). 990:). 877:or 785:'s 781:on 560:). 544:), 512:). 448:'s 389:). 6601:: 6126:. 6078:. 6053:. 6015:^ 5988:^ 5972:. 5947:. 5923:. 5910:^ 5833:. 5808:^ 5776:. 5740:. 5666:^ 5649:^ 5630:^ 5618:}} 5614:{{ 5552:^ 5519:. 5454:^ 5427:^ 5366:^ 5342:^ 5320:^ 5261:^ 5228:^ 5216:}} 5212:{{ 5180:. 5103:. 5049:^ 5034:^ 4969:^ 4954:^ 4935:^ 4904:^ 4887:^ 4866:^ 4849:^ 4833:. 4798:^ 4748:^ 4736:). 4725:). 4714:). 4703:). 4692:). 4681:). 4670:). 4659:). 4648:). 4637:). 4626:). 4615:). 4604:). 4593:). 4582:). 4571:). 4560:). 4549:). 4538:). 4527:). 4516:). 4505:). 4494:). 4483:). 4472:). 4461:). 4450:). 4439:). 4428:). 4417:). 4406:). 4395:). 4384:). 4373:). 4362:). 4351:). 4340:). 4329:). 4318:). 4307:). 4296:). 4285:). 4274:). 4263:). 4252:). 4241:). 4230:). 4219:). 4208:). 4197:). 4186:). 4175:). 4164:). 4153:). 4142:). 4131:). 4117:). 4106:). 4095:). 4084:). 4073:). 4062:). 4051:). 4040:). 4026:). 4015:). 4004:). 3993:). 3982:). 3971:). 3960:). 3949:). 3938:). 3927:). 3916:). 3905:). 3894:). 3883:). 2471:, 2467:, 2463:, 1931:, 1927:, 1923:, 1919:, 1915:, 1911:, 1907:, 1903:, 1895:, 1891:, 1887:, 1346:). 1217:, 1201:, 1197:, 1193:, 1189:, 1185:, 1181:, 1177:, 1053:, 1049:, 1027:. 986:, 982:, 889:). 659:, 655:, 651:, 647:, 643:, 639:, 635:, 631:, 627:, 623:, 492:, 472:). 416:, 412:, 400:, 338:, 334:, 330:, 322:, 299:). 272:, 256:, 248:). 229:. 221:, 213:. 6590:. 6571:. 6552:. 6515:. 6496:. 6468:. 6450:. 6395:. 6137:. 6089:. 6064:. 6039:. 5982:. 5958:. 5933:. 5904:. 5887:. 5843:. 5786:. 5750:. 5726:. 5699:. 5624:) 5529:. 5421:. 5360:. 5302:. 5275:. 5222:) 5191:. 5113:. 5011:. 4843:. 4774:. 4124:, 3526:) 3410:) 2444:e 2437:t 2430:v 1982:( 1974:( 1966:( 1947:( 1857:( 1846:( 1838:( 1568:“ 1173:( 1033:( 1016:( 1008:( 1000:( 974:( 920:( 912:( 885:( 703:( 583:( 575:( 567:( 556:( 548:( 540:( 532:( 524:( 488:( 480:( 468:( 432:( 424:( 385:( 377:( 358:( 346:( 295:( 244:( 131:( 26:(

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Knowledge

Rembrandt's prints

Index