Famous paintings: stories, analyzes and masterpieces

Rembrandt, Autoportrait aux deux cercles, vers 1665-1669
How Rembrandt influenced modern art, from Goya to Francis Bacon
From Goya to Francis Bacon, a visual history of Rembrandt's influence: engraving, chiaroscuro, self-portraits, pictorial material and truth of bodies. Read more...
Rembrandt, Autoportrait aux deux cercles, vers 1665-1669
Rembrandt and Picasso: engraving, self-portrait and dialogue with the masters
From the Vollard Suite to the Ecce Homo of 1970, discover how Picasso dialogues with Rembrandt through engraving, self-portraiture and the reinvention of the masters. Read more...
Vincent van Gogh, Autoportrait au chapeau de feutre gris, 1887
Van Gogh and Rembrandt: admiration, copies and influence
From The Jewish Bride to The Resurrection of Lazarus, discover how Van Gogh admired, studied and transformed Rembrandt's art without ever slavishly imitating it. Read more...
Rembrandt, Autoportrait aux deux cercles, vers 1665, Kenwood House
Rembrandt at Kenwood House and the Wallace Collection: Self-Portraits and Dutch Masters in London
Two free collections, two faces of Rembrandt: the late painter of Kenwood House and the denser universe of the Wallace Collection, from Titus to the reallocated works. Read more...
Rembrandt, Christ en croix, 1631, conservé au Mas-d’Agenais
The Rembrandt of Mas-d'Agenais: history, attribution and visit of Christ on the cross
At Mas-d'Agenais, a Christ on the cross signed Rembrandt and dated 1631 is still visible in the Saint-Vincent collegiate church. Analysis, attribution, history and visiting advice. Read more...
Dutch Room du Gardner Museum après le vol de 1990, avec les cadres vides
Rembrandt's stolen or missing works
Investigation into stolen Rembrandt's works, still missing or found: Gardner Museum, Jacob de Gheyn III, Stockholm and the disputed case of Draguignan. Read more...
Rembrandt, Le Cavalier polonais, vers 1655, Frick Collection
Rembrandt at the Frick Collection: The Polish Horseman and the Portraits
A precise route among the three Rembrandts of the Frick Collection: The Polish Horseman, Nicolaes Ruts and the Self-Portrait of 1658, with attribution, material and visiting advice. Read more...
Rembrandt, Les Pèlerins d’Emmaüs, vers 1628, musée Jacquemart-André
Rembrandt at the Jacquemart-André museum: The Pilgrims of Emmaus and the collection
A complete tour around the three Rembrandts of the Jacquemart-André museum: the backlight of the Pilgrims of Emmaus, Amalia van Solms, Arnold Tholinx and the history of the collection. Read more...
Rembrandt, La Leçon d’anatomie du docteur Nicolaes Tulp, 1632, Mauritshuis
Rembrandt at Mauritshuis: Lesson in anatomy and other masterpieces
From Doctor Tulp to the self-portrait of 1669: discover the eleven Rembrandts of the Mauritshuis, their history, their subject and a recommended route in rooms 9 and 10. Read more...
Rembrandt, Autoportrait à l’âge de 34 ans, 1640, National Gallery de Londres
Rembrandt at the National Gallery in London: works and self-portraits
Two self-portraits from 1640 and 1669 frame a journey among the Rembrandts of the National Gallery in London: major works, attributions, rooms and visiting councils. Read more...
Le Retour de l’enfant prodigue de Rembrandt au musée de l’Ermitage
Rembrandt at the Hermitage Museum: masterpieces and journey
An editorial tour at the Hermitage Museum to see the masterpieces of Rembrandt, Flora and Danaé at Return of the Prodigal Son, with visiting advice and analysis keys. Read more...
Rembrandt, La Ronde de nuit, 1642, Rijksmuseum
Rembrandt at the Rijksmuseum: paintings, rooms and recommended route
Discover Rembrandt's paintings at the Rijksmuseum, their rooms and a recommended route of one hour or two and a half hours, with advice for visiting 2026. Read more...
Amsterdam vue depuis le Kadijk, eau-forte de Rembrandt vers 1641
Rembrandt in Amsterdam: itinerary between his house, the Rijksmuseum and the city
A day's itinerary in the footsteps of Rembrandt in Amsterdam: house-workshop, historic district, Rijksmuseum, Rozengracht and Westerkerk, with visiting tips and method for viewing the works. Read more...
Façade historique de la Maison de Rembrandt au 4 Jodenbreestraat à Amsterdam
Rembrandt's House in Amsterdam: museum, workshop, collections and visit
Visit the Rembrandt House in Amsterdam: history of the place, large workshop, cabinet of curiosities, print collections and practical information 2026. Read more...
Vieille femme lisant, probablement la prophétesse Anne, Rembrandt, 1631
Old women reading at Rembrandt: models, light and attributions
Why does Rembrandt paint old women absorbed in a book? An investigation into models, chiaroscuro, the workshop and attributions. Read more...
Aristote contemplant le buste d’Homère par Rembrandt, 1653
Old men, scholars and philosophers at Rembrandt
Old men, readers, apostles and ancient thinkers: how does Rembrandt make age, knowledge and meditation visible without confusing model and philosopher? Read more...
Nature morte aux paons de Rembrandt, vers 1639
Rembrandt's still lifes: objects, books, carcasses and symbols
From Flayed Beef to Peacocks and Shellfish, an analysis of Rembrandt's rare still lifes and the role of books, objects and symbols in his work. Read more...
Bethsabée au bain tenant la lettre du roi David par Rembrandt, 1654
Rembrandt's nudes: truth of the body, mythology and gaze
From mythological heroines to workshop models, discover how Rembrandt transforms the nude into an experience of flesh, light and gaze. Read more...
La Ronde de nuit de Rembrandt, compagnie de miliciens se mettant en marche
Rembrandt's group portraits: militias, doctors and guilds
From Doctor Tulp's Anatomy Lesson to Syndics, Rembrandt transforms the collective portrait into action: militias, surgeons, guilds, looks and light. Read more...
Andromède enchaînée de Rembrandt, vers 1630
Rembrandt's mythological scenes: gods, heroines and non-idealized bodies
From Andromeda to Danae, Ganymede and Europa, discover how Rembrandt transforms ancient myths into physical experiences of fear, desire and vulnerability. Read more...
Rembrandt représenté en apôtre Paul avec manuscrit et épée, 1661
The Apostles of Rembrandt: portraits, self-portrait as Saint Paul and series
From the first portraits of Paul and Peter to the late group of 1661: a visual investigation into Rembrandt's apostles, his self-portrait as Saint Paul and the hypothesis of a... Read more...
Portrait peint d’Ephraim Bueno par Rembrandt, vers 1645-1647
Jewish figures and rabbis of Rembrandt: portraits, sections and context
Identified portraits, tronies and historical titles: how to recognize Jewish figures in Rembrandt without transforming costumes and hypotheses into certainties. Read more...
Rembrandt, Portrait d’une femme probablement Maria Trip, 1639
Women in Rembrandt's work: portraits, nudes and heroines
Portraits of clients, intimate figures, nudes and heroines: how does Rembrandt paint Oopjen, Maria Trip, Saskia, Hendrickje, Bathsheba, Suzanne and Lucretia? Read more...
Rembrandt, La Femme qui pisse, second état de l’eau-forte de 1631
Rembrandt's Pisseuse: daily subject, etching and reception
An eight-centimeter etching that disturbed connoisseurs: analysis of the subject, the two states, the male counterpart and the reception of Rembrandt's The Pisser. Read more...
Rembrandt, Le Coquillage, deuxième état sur fond sombre, eau-forte de 1650
Rembrandt's Shell: the unique engraved still life and its states
Analysis of Rembrandt's Shell, etching from 1650: Conus marmoreus, naturalia collection, light or dark background, three states and technique. Read more...
Rembrandt, La Cène d’après Léonard de Vinci, dessin à la sanguine de 1634–1635
Rembrandt's sketches: how to read a quick drawing?
How to look at a Rembrandt sketch? A visual guide to reading the line, wash, paper reserves, corrections and attributions through ten drawings. Read more...
Rembrandt, Les Trois Croix, premier état, exemple pour les catalogues Bartsch, Hind et New Hollstein
The catalog raisonné of Rembrandt's engravings: Bartsch, Hind and New Hollstein
Understand and use the catalogs of Rembrandt's engravings: Bartsch numbers, Hind chronology, 314 prints from New Hollstein, states, proofs, watermarks and concordances. Read more...
Rembrandt, Les Trois Croix, quatrième état vers 1660, Metropolitan Museum of Art
Rembrandt's Three Crosses: analysis of states and light
How Rembrandt transforms The Three Crosses between 1653 and the fourth state? Analysis of drypoint, plate wear, five states and light. Read more...
Rembrandt, La Pièce aux cent florins, grande eau-forte vers 1648
Christ Healing the Sick by Rembrandt: Why is it called the Hundred Florin Coin?
Why is the print of Christ healing the sick called Coin of a Hundred Florins? Origin of the nickname, letter from 1654, technique and complete analysis. Read more...
La Conspiration de Claudius Civilis de Rembrandt, fragment conservé au Nationalmuseum de Stockholm
Rembrandt's Claudius Civilis Conspiracy: Story of a Mutilated Painting
Ordered for Amsterdam City Hall then cut out, The Claudius Civilis Conspiracy only remains in a monumental fragment. Analysis of the oath, the Munich drawing, the light and the uncertainties... Read more...
Rembrandt, Les Trois Arbres, eau-forte de paysage, 1643
Rembrandt's Three Trees: Landscape Etching Analysis
In 1643, Rembrandt transformed a Dutch landscape into an atmospheric drama. Analysis of the Three Trees, the storm, hidden figures and etching techniques. Read more...
Rembrandt, Le Moulin, 1645–1648, National Gallery of Art
The Rembrandt Mill: analysis of landscape and light
Analysis of the Rembrandt Mill: monumental silhouette, restored sky, reflections of the river, daily figures and eventful history of attribution. Read more...
Pallas Athéna autrefois appelée Alexandre le Grand, attribuée à Rembrandt et un élève
Alexander the Great attributed to Rembrandt: armor, identity and debates
Long called Alexander the Great, this warrior is today identified as Pallas Athena and attributed to Rembrandt and a student. Investigation into armor and debates. Read more...
Junon de Rembrandt, déesse couronnée tenant un sceptre auprès d’un paon
Juno of Rembrandt: attributes of the goddess, costume and attribution
Crown, scepter, peacock, fancy costume and late touch: an analysis by Juno de Rembrandt, between established facts and hypotheses about the model. Read more...
Rembrandt, L’Enlèvement d’Europe, 1632, Getty Museum
Rembrandt's Rapture from Europe: Ovid's movement, costume and story
In 1632, Rembrandt transposed Ovid's story into a Dutch setting: analysis of the bull in motion, luxurious costumes, the port and the gaze of Europe. Read more...
Ganymède dans les serres de l’aigle de Rembrandt, enfant terrifié emporté par Jupiter, 1635
Ganymede in the Eagle's Greenhouses by Rembrandt: fear, humor and myth
Rembrandt transforms Ganymede into a terrified child: analysis of the myth, the cry, the cherries, the urine, the eagle and the disturbing humor of the painting. Read more...
Rembrandt, Jupiter et Antiope, grande planche, 1659
Jupiter and Antiope by Rembrandt: attribution, eroticism and myth
Two prints, two career moments and a title less certain than it seems: analysis of Jupiter and Rembrandt's Antiope, the eroticism of the gaze and the myth. Read more...
Bellone de Rembrandt, déesse de la guerre en armure tenant un bouclier, 1633
Bellona and Minerva at Rembrandt: women in armor and allegorical figures
Bellona and Minerva embody two forms of power in Rembrandt: visible warfare, strategic wisdom, armor, feminine attributes and identities. Read more...
Rembrandt, L’Enlèvement de Proserpine, vers 1631, Gemäldegalerie de Berlin
Rembrandt's The Rapture of Proserpina: movement, violence and myth
Around 1631, Rembrandt transformed Proserpina's kidnapping into a struggle of gestures, light and opposing forces. Complete analysis of the myth, the Berlin panel and its technique. Read more...
Saskia représentée en Flora par Rembrandt en 1634, couronnée de fleurs
Flora de Rembrandt: versions, flowers and identity of the model
From Saskia crowned with flowers in 1634 to the mysterious Flora du Met around 1654: compare the versions, bouquets, costumes and the discussed identity of the models. Read more...
Rembrandt, Une femme se baignant dans un ruisseau, 1654, National Gallery de Londres
A woman bathing in a stream of Rembrandt: analysis and model
Who is the woman painted by Rembrandt in 1654? Analysis of the gaze, water, luminous shirt, technique and the Hendrickje Stoffels hypothesis. Read more...
Rembrandt, Suzanne et les vieillards, 1647, Gemäldegalerie de Berlin
Suzanne and the Old Men by Rembrandt: look, fear and versions
Two paintings, twelve years of research: how Rembrandt transforms Suzanne and the old men into a study of gaze, fear, control and power. Read more...
Rembrandt, La Visitation, 1640, Detroit Institute of Arts
The Visitation of Rembrandt: encounter, gestures and biblical landscape
In 1640, Rembrandt transformed the meeting of Mary and Elizabeth into a theater of gestures, night light and landscape. Complete analysis of the work preserved in Detroit. Read more...
Siméon tenant l’Enfant Jésus dans le dernier tableau inachevé de Rembrandt, vers 1669
Simeon at the Temple of Rembrandt: versions and last unfinished painting
From 1627 to the last unfinished painting of 1669, discover how Rembrandt transformed the meeting of Simeon and the Child: versions, lighting, engravings and interpretations. Read more...
Rembrandt, Jérémie pleurant la destruction de Jérusalem, 1630
Jeremiah mourning the destruction of Jerusalem by Rembrandt: analysis of the prophet and the light
Rembrandt transforms the destruction of Jerusalem into silent meditation. Analysis of the prophet, light, Temple objects and iconographic uncertainties. Read more...
Rembrandt, Le Festin de Balthazar, inscription lumineuse et banquet, vers 1636-1638
Rembrandt's Feast of Balthazar: analysis of inscription and light
Around 1636 -1638, Rembrandt transformed the apparition of "Mene, mene, tekel, upharsin" into a theater of light. Analysis of the inscription, the king, the sacred vases and the spilled wine. Read more...
Portrait de la princesse Amalia van Solms peint par Rembrandt en 1632
Amalia van Solms in Rembrandt's studio: portrait, costume and attribution
In 1632, Rembrandt depicted Amalia van Solms in profile. An analysis of costume, pearls, lace, court context and attribution history. Read more...
Rembrandt, Titus van Rijn probablement, absorbé par la lecture d’un livre, vers 1656-1657
Portrait of Titus reading by Rembrandt: analysis of the son absorbed by his book
Around 1656 -1657, Rembrandt painted a young reader probably identified with his son Titus. Analysis of the lowered gaze, the book, the light and this scene of silent absorption. Read more...
Elsje Christiaens sur le gibet, dessin de Rembrandt, 1664
Portrait of Elsje Christiaens by Rembrandt: drawing, justice and social perspective
Two drawings from 1664, a judicial register and a rediscovered identity: analysis of Rembrandt's view of Elsje Christiaens, public justice and the Volewijk. Read more...
Rembrandt, Portrait d’une femme probablement Maria Trip, 1639
Portrait of Maria Trip by Rembrandt: costume, jewelry and identity
Painted in 1639, the portrait probably identified with Maria Trip combines lace, pearls, jewelry and Chinese fan. An analysis of his costume, his presence and the uncertainty surrounding his identity. Read more...