Siméon au Temple de Rembrandt : versions et dernier tableau inachevé
De 1627 au dernier tableau inachevé de 1669, découvrez comment Rembrandt transforme la rencontre de Siméon et l’Enfant : versions, lumière, gr...
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De 1627 au dernier tableau inachevé de 1669, découvrez comment Rembrandt transforme la rencontre de Siméon et l’Enfant : versions, lumière, gr...
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Rembrandt transforme la destruction de Jérusalem en méditation silencieuse. Analyse du prophète, de la lumière, des objets du Temple et des in...
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Vers 1636–1638, Rembrandt transforme l’apparition de « Mene, mene, tekel, upharsin » en un théâtre de lumière. Analyse de l’inscription, du ro...
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In 1632, Rembrandt depicted Amalia van Solms in profile. An analysis of costume, pearls, lace, court context and attribution history.
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Around 1656 -1657, Rembrandt painted a young reader probably identified with his son Titus. Analysis of the lowered gaze, the book, the light ...
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Two drawings from 1664, a judicial register and a rediscovered identity: analysis of Rembrandt's view of Elsje Christiaens, public justice and...
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Painted in 1639, the portrait probably identified with Maria Trip combines lace, pearls, jewelry and Chinese fan. An analysis of his costume, ...
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Painted by Rembrandt in 1634, Marten Soolmans and Oopjen Coppit form a unique monumental counterpart. Analysis of the couple, gestures, black ...
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Why does this young girl painted in 1645 seem so alive? An analysis of the direct gaze, gesture, window sill, impasto and uncertain identity o...
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Who is the mysterious young armed horseman painted around 1655? A visual investigation into his costume, landscape, attribution history, and t...
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Complete analysis of the Trustees of the Rembrandt drapers' guild: identity of the six men, function of the guild, views, perspective, light a...
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A complete analysis of Bathsheba in the Bath by Rembrandt: David's letter, the inner gaze, the life-size body, the light and the material hist...
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