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Delphi Masters of Art #9
Complete Works of Rembrandt van Rijn
Rembrandt van Rijn, the greatest master of the Dutch Golden Age, created a prolific and innovative body of paintings and etchings, having an immense influence on the course of Western art and inspiring new genres in painting. The Masters of Art Series presents the world’s first digital e-Art books, allowing digital readers to explore the works of the world’s greatest artists in comprehensive detail. This volume presents Rembrandt’s complete paintings in beautiful detail, with concise introductions, hundreds of high quality images and the usual Delphi bonus material. (Version 1)
* The complete paintings and etchings of Rembrandt van Rijn — fully indexed and arranged in chronological and alphabetical order
* Includes reproductions of rare works
* Features a special ‘Highlights’ section of plates, with concise introductions to the masterpieces, giving valuable contextual information
* Enlarged ‘Detail’ images, allowing you to explore Rembrandt’s celebrated works in detail, as featured in traditional art books
* Hundreds of images in stunning colour – highly recommended for viewing on tablets and smart phones or as a valuable reference tool on more conventional eReaders
* Special chronological and alphabetical contents tables for the paintings and etchings
* Easily locate the works you want to view
* Features two bonus biographies, including Bell’s seminal study on the artist - immerse yourself in Rembrandt's turbulent life
* Scholarly ordering of plates into chronological order and literary genres
Please visit www.delphiclassics.com to browse through our range of exciting e-Art books
CONTENTS:
The Highlights
ANNA ACCUSED BY TOBIT OF STEALING THE KID
SELF-PORTRAIT, 1630-31
THE ANATOMY LESSON OF DOCTOR TULP
PORTRAIT OF THE ARTIST JACQUES DE GHEYN
FLORA
DESCENT FROM THE CROSS
BELSHAZZAR’S FEAST
THE PRODIGAL SON IN THE TAVERN
SELF-PORTRAIT, 1640
PORTRAIT OF AGATHA BAS
THE NIGHT WATCH
THE HOLY FAMILY WITH ANGELS
SUSANNA SURPRISED BY THE ELDERS
PORTRAIT OF HENDRICKJE STOFFELS
A WOMAN BATHING
SLAUGHTERED OX
THE STAALMEESTERS
SELF-PORTRAIT WITH PALETTE AND BRUSHES, 1665
THE JEWISH BRIDE
The Paintings
CHRONOLOGICAL LIST OF PAINTINGS
ALPHABETICAL LIST OF PAINTINGS
The Etchings
CHRONOLOGICAL LIST OF ETCHINGS
ALPHABETICAL LIST OF ETCHINGS
The Biographies
REMBRANDT by Mortimer Menpes
REMBRANDT VAN RIJN by Malcolm Bell
Please visit www.delphiclassics.com to browse through our range of exciting titles
* The complete paintings and etchings of Rembrandt van Rijn — fully indexed and arranged in chronological and alphabetical order
* Includes reproductions of rare works
* Features a special ‘Highlights’ section of plates, with concise introductions to the masterpieces, giving valuable contextual information
* Enlarged ‘Detail’ images, allowing you to explore Rembrandt’s celebrated works in detail, as featured in traditional art books
* Hundreds of images in stunning colour – highly recommended for viewing on tablets and smart phones or as a valuable reference tool on more conventional eReaders
* Special chronological and alphabetical contents tables for the paintings and etchings
* Easily locate the works you want to view
* Features two bonus biographies, including Bell’s seminal study on the artist - immerse yourself in Rembrandt's turbulent life
* Scholarly ordering of plates into chronological order and literary genres
Please visit www.delphiclassics.com to browse through our range of exciting e-Art books
CONTENTS:
The Highlights
ANNA ACCUSED BY TOBIT OF STEALING THE KID
SELF-PORTRAIT, 1630-31
THE ANATOMY LESSON OF DOCTOR TULP
PORTRAIT OF THE ARTIST JACQUES DE GHEYN
FLORA
DESCENT FROM THE CROSS
BELSHAZZAR’S FEAST
THE PRODIGAL SON IN THE TAVERN
SELF-PORTRAIT, 1640
PORTRAIT OF AGATHA BAS
THE NIGHT WATCH
THE HOLY FAMILY WITH ANGELS
SUSANNA SURPRISED BY THE ELDERS
PORTRAIT OF HENDRICKJE STOFFELS
A WOMAN BATHING
SLAUGHTERED OX
THE STAALMEESTERS
SELF-PORTRAIT WITH PALETTE AND BRUSHES, 1665
THE JEWISH BRIDE
The Paintings
CHRONOLOGICAL LIST OF PAINTINGS
ALPHABETICAL LIST OF PAINTINGS
The Etchings
CHRONOLOGICAL LIST OF ETCHINGS
ALPHABETICAL LIST OF ETCHINGS
The Biographies
REMBRANDT by Mortimer Menpes
REMBRANDT VAN RIJN by Malcolm Bell
Please visit www.delphiclassics.com to browse through our range of exciting titles
1445 pages, Kindle Edition
First published October 10, 2014
164 people are currently reading
163 people want to read
About the author
Rembrandt van Rijn
344 books21 followersRembrandt Harmenszoon van Rijn was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art history and the most important in Dutch history. His contributions to art came in a period that historians call the Dutch Golden Age.
Having achieved youthful success as a portrait painter, his later years were marked by personal tragedy and financial hardship. Yet his drawings and paintings were popular throughout his lifetime, his reputation as an artist remained high and for twenty years he taught nearly every important Dutch painter. Rembrandt's greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. The self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.
In both painting and printmaking he exhibited a complete knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt's knowledge of the specific text, his assimilation of classical composition, and his observations of the Jewish population of Amsterdam. Because of his empathy for the human condition, he has been called "one of the great prophets of civilization."
Having achieved youthful success as a portrait painter, his later years were marked by personal tragedy and financial hardship. Yet his drawings and paintings were popular throughout his lifetime, his reputation as an artist remained high and for twenty years he taught nearly every important Dutch painter. Rembrandt's greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. The self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.
In both painting and printmaking he exhibited a complete knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt's knowledge of the specific text, his assimilation of classical composition, and his observations of the Jewish population of Amsterdam. Because of his empathy for the human condition, he has been called "one of the great prophets of civilization."
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Displaying 1 - 5 of 5 reviews
April 4, 2019
Esta versión de Delphi Classics reúne la obra pictórica del maestro holandés Rembrandt que se caracterizó sobre todo por su habilidad para los retratos y autorretratos (de hecho pintó una cantidad descomunal de ellos en diversos periodos de su vida como pocos artistas).
De mis favoritos:
"Lesión de anatomía del Dr. Tulp", sus personajes como en este cuadro clásicamente vienen ataviados con la moda del siglo con sus gorgueras-lechuguillas de lino blanco tan característica.
"El hijo pródigo en la taberna" desde luego una bella composición donde hay gran transmisión del sentimiento que embarga al hijo medio borracho y su concubina. Y esto de hecho me sirve para recalcar la moda que había en ese entonces de diseñar a los temas clásicos (bíblicos, greco-romanos, Etc) con atuendos de la época actual del artista, un anacronismo desde luego interesante.
"El rapto de Proserpina" o "El rapto de Europa" son también cuadros muy bien trabajados y con un efecto del claroscuro increíble aunque más simples.
Hay una enormidad de retratos de contemporáneos cada cual más fresco, más realista que el otro y una de las cosas que más me sorprendió es ver lo bien que hacía los paisajes, lástima que no se dedicó demasiado a ese tipo de cuadros.
De mis favoritos:
"Lesión de anatomía del Dr. Tulp", sus personajes como en este cuadro clásicamente vienen ataviados con la moda del siglo con sus gorgueras-lechuguillas de lino blanco tan característica.
"El hijo pródigo en la taberna" desde luego una bella composición donde hay gran transmisión del sentimiento que embarga al hijo medio borracho y su concubina. Y esto de hecho me sirve para recalcar la moda que había en ese entonces de diseñar a los temas clásicos (bíblicos, greco-romanos, Etc) con atuendos de la época actual del artista, un anacronismo desde luego interesante.
"El rapto de Proserpina" o "El rapto de Europa" son también cuadros muy bien trabajados y con un efecto del claroscuro increíble aunque más simples.
Hay una enormidad de retratos de contemporáneos cada cual más fresco, más realista que el otro y una de las cosas que más me sorprendió es ver lo bien que hacía los paisajes, lástima que no se dedicó demasiado a ese tipo de cuadros.
October 15, 2019
This Delphi Collection of Remnbrandt gives a vast number of paintings and sketches which gives the viewer idea of what kind of master artist he was.
I have heard of Rembrandt since I was a kid but if someone would ask me about his works, I would have to give a basic non answer because though I am sure I had seen a work or two as a kid, nothing stands out to me. After viewing this collection, though he is not a favorite artists of mine, he is indeed a master! I have yet to find an artist that can paint old people as he does, it is so outstanding the wrinkles but beyond that the essence of maturity near the end of life. He loves to do self portraits and even the ones not labeled as such, I see him in some of these pictures. His women are far from charming and not knowing his models but wondering if he made his nude models heavier than they actually were.
I included some quotes from this collection and some further highlights at listed in that section.
My favorite paintings are "Girl in the Window" & "Lucretia".
I am reading the Delphi Collection of Vincent van Gogh & in his letter to Theo, Remnbrandt prints are mentioned and prized.
"Rembrandt’s fascinations to dominate his art: the self-portrait. The artist completed over seventy-five self-portraits in oil and it has been estimated that 10% of his entire artistic output was dedicated to the depiction of his own facial features. This offers a unique opportunity of surveying a countenance gradually changing over the course of forty years. Rembrandt’s self-portraits have left posterity a visual autobiography of an artist that is simply without parallel in the history of Western art."
"This 1632 oil painting is housed in the Mauritshuis museum in The Hague, and concerns Dr. Nicolaes Tulp’s real-life anatomy lesson, as he explains the musculature of the arm of a corpse to his surrounding medical professionals. The spectators are various doctors that had paid commissions to the artist to be included in the painting. In the top-left hand corner of the canvas, it is signed Rembrandt. f[ecit] 1632, which is most likely the first recorded instance of the artist signing a painting with his forename in its original form as opposed to using the monogramme RHL (Rembrandt Harmenszoon of Leiden), demonstrating his growing confidence. The actual event depicted in the canvas has been dated to 16 January 1632, when the Amsterdam Guild of Surgeons, of which Dr. Tulp was the official City Anatomist, permitted only one public dissection a year and the body would have to be that of an executed criminal."
"Unusual for the artist’s oeuvre, both the portraits are under life-size, though the smooth application of paint, with meticulous eye for detail, more than compensates for the lack in size. The de Gheyn portrait has been stolen numerous times, as its minute size has aided thieves in its numerous thefts. The painting has been given the nickname “takeaway Rembrandt” as it has been stolen four times since 1966 – the most recorded of any painting. Between 14 August 1981 and 3 September 1981 the painting was taken from Dulwich Picture Gallery and retrieved when police arrested four men in a taxi, who had the painting with them. Two years later, a burglar smashed a skylight and descended into the art gallery, using a crowbar to remove the painting from the wall. The police arrived within three minutes, but were too late to apprehend the thief. The painting was missing for three years, eventually being found in October 1986 in a luggage rack at the train station of a British army garrison in Münster, Germany. The other two times, the painting was found once underneath a bench in a graveyard in Streatham and once on the back of a bicycle. Each time the painting has been returned anonymously with more than one person being charged for its disappearance. "
"Where Rubens portrayed Christ as a muscular figure, inspired by the works of Michelangelo and Caravaggio, Rembrandt opts for a much more realistic and even flabby depiction of Christ, whose body is limp and skin depicted with a lifeless, pallid hue. There is also another feature in the Descent from the Cross found in many of Rembrandt’s major works. In the figure closest to Christ, hovering over the corpse and looking down with a troubled, pensive frown, we can detect the telltale frizzy hair of the artist himself. "
"Hendrickje Stoffels, who was living with Rembrandt as his mistress. Hendrickje obtained work as the artist’s housekeeper, living with him from 1647, at first as a maid, but soon becoming his lover, leading to an acrimonious fallout with Rembrandt’s previous resident lover Geertje Dircx, who sued Rembrandt for breach of promise in 1649, demanding maintenance payments from him. Hendrickje testified in the case, confirming that a financial agreement had been reached with Geertje. In 1654, when she was pregnant with Rembrandt’s daughter, Hendrickje had to appear before the church council for ‘living in sin’ with Rembrandt, who was a widower and twenty years her senior. She admitted that she had “committed the acts of a whore with Rembrandt the painter” and was banned from receiving communion. On 30 October 1654, the couple’s daughter Cornelia van Rijn was baptised in the Oude Kerk in Amsterdam. Initially, Rembrandt’s unwillingness to marry Hendrickje was due to a pecuniary motive, as by marrying her he would have forfeited the inheritance of his wife Saskia. Even with this inheritance he was suffering major financial problems, but without it he would have been bankrupt. However, in 1655, Titus, the son he had with Saskia, turned fourteen and was thereby eligible by law to make his will. Rembrandt immediately made sure that Titus installed him as his only heir and by that he was free from Saskia’s inheritance will. Nevertheless, he still did not marry Hendrickje, though she remained with him until her death in 1663. "
I will put this again in my "to read" in case I want to read the biographies included. Looking forward to eventually viewing the whole master of art series.
I have heard of Rembrandt since I was a kid but if someone would ask me about his works, I would have to give a basic non answer because though I am sure I had seen a work or two as a kid, nothing stands out to me. After viewing this collection, though he is not a favorite artists of mine, he is indeed a master! I have yet to find an artist that can paint old people as he does, it is so outstanding the wrinkles but beyond that the essence of maturity near the end of life. He loves to do self portraits and even the ones not labeled as such, I see him in some of these pictures. His women are far from charming and not knowing his models but wondering if he made his nude models heavier than they actually were.
I included some quotes from this collection and some further highlights at listed in that section.
My favorite paintings are "Girl in the Window" & "Lucretia".
I am reading the Delphi Collection of Vincent van Gogh & in his letter to Theo, Remnbrandt prints are mentioned and prized.
"Rembrandt’s fascinations to dominate his art: the self-portrait. The artist completed over seventy-five self-portraits in oil and it has been estimated that 10% of his entire artistic output was dedicated to the depiction of his own facial features. This offers a unique opportunity of surveying a countenance gradually changing over the course of forty years. Rembrandt’s self-portraits have left posterity a visual autobiography of an artist that is simply without parallel in the history of Western art."
"This 1632 oil painting is housed in the Mauritshuis museum in The Hague, and concerns Dr. Nicolaes Tulp’s real-life anatomy lesson, as he explains the musculature of the arm of a corpse to his surrounding medical professionals. The spectators are various doctors that had paid commissions to the artist to be included in the painting. In the top-left hand corner of the canvas, it is signed Rembrandt. f[ecit] 1632, which is most likely the first recorded instance of the artist signing a painting with his forename in its original form as opposed to using the monogramme RHL (Rembrandt Harmenszoon of Leiden), demonstrating his growing confidence. The actual event depicted in the canvas has been dated to 16 January 1632, when the Amsterdam Guild of Surgeons, of which Dr. Tulp was the official City Anatomist, permitted only one public dissection a year and the body would have to be that of an executed criminal."
"Unusual for the artist’s oeuvre, both the portraits are under life-size, though the smooth application of paint, with meticulous eye for detail, more than compensates for the lack in size. The de Gheyn portrait has been stolen numerous times, as its minute size has aided thieves in its numerous thefts. The painting has been given the nickname “takeaway Rembrandt” as it has been stolen four times since 1966 – the most recorded of any painting. Between 14 August 1981 and 3 September 1981 the painting was taken from Dulwich Picture Gallery and retrieved when police arrested four men in a taxi, who had the painting with them. Two years later, a burglar smashed a skylight and descended into the art gallery, using a crowbar to remove the painting from the wall. The police arrived within three minutes, but were too late to apprehend the thief. The painting was missing for three years, eventually being found in October 1986 in a luggage rack at the train station of a British army garrison in Münster, Germany. The other two times, the painting was found once underneath a bench in a graveyard in Streatham and once on the back of a bicycle. Each time the painting has been returned anonymously with more than one person being charged for its disappearance. "
"Where Rubens portrayed Christ as a muscular figure, inspired by the works of Michelangelo and Caravaggio, Rembrandt opts for a much more realistic and even flabby depiction of Christ, whose body is limp and skin depicted with a lifeless, pallid hue. There is also another feature in the Descent from the Cross found in many of Rembrandt’s major works. In the figure closest to Christ, hovering over the corpse and looking down with a troubled, pensive frown, we can detect the telltale frizzy hair of the artist himself. "
"Hendrickje Stoffels, who was living with Rembrandt as his mistress. Hendrickje obtained work as the artist’s housekeeper, living with him from 1647, at first as a maid, but soon becoming his lover, leading to an acrimonious fallout with Rembrandt’s previous resident lover Geertje Dircx, who sued Rembrandt for breach of promise in 1649, demanding maintenance payments from him. Hendrickje testified in the case, confirming that a financial agreement had been reached with Geertje. In 1654, when she was pregnant with Rembrandt’s daughter, Hendrickje had to appear before the church council for ‘living in sin’ with Rembrandt, who was a widower and twenty years her senior. She admitted that she had “committed the acts of a whore with Rembrandt the painter” and was banned from receiving communion. On 30 October 1654, the couple’s daughter Cornelia van Rijn was baptised in the Oude Kerk in Amsterdam. Initially, Rembrandt’s unwillingness to marry Hendrickje was due to a pecuniary motive, as by marrying her he would have forfeited the inheritance of his wife Saskia. Even with this inheritance he was suffering major financial problems, but without it he would have been bankrupt. However, in 1655, Titus, the son he had with Saskia, turned fourteen and was thereby eligible by law to make his will. Rembrandt immediately made sure that Titus installed him as his only heir and by that he was free from Saskia’s inheritance will. Nevertheless, he still did not marry Hendrickje, though she remained with him until her death in 1663. "
I will put this again in my "to read" in case I want to read the biographies included. Looking forward to eventually viewing the whole master of art series.
October 5, 2019
Of course not like seeing the real thing but a reasonable reminder and at such a low price I'm just thrilled to see these works!
April 24, 2021
Complete works of Rembrandt
I enjoyed his paintings in this book. His life story is very interesting and was covered well in Masters of Art book 9.
I enjoyed his paintings in this book. His life story is very interesting and was covered well in Masters of Art book 9.
September 1, 2023
This is a great reference book. I learned much more about Rembrandt and it was very pleasant to learn more about his techniques. Beware this book is will take a while to get through!
Displaying 1 - 5 of 5 reviews