Famous paintings: stories and analyzes | Alpha – tagged "Analyse de tableau"

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...

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...

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...

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...

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...

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...

Les portraits en pied de Marten Soolmans et Oopjen Coppit peints par Rembrandt en 1634

The portraits of Marten Soolmans and Oopjen Coppit: analysis of the double portrait

Painted by Rembrandt in 1634, Marten Soolmans and Oopjen Coppit form a unique monumental counterpart. Analysis of the couple, gestures, black costumes, light and their joint acquisition by the Louvre... Read more...

Rembrandt, Jeune fille à la fenêtre, 1645, Dulwich Picture Gallery

Young girl at Rembrandt's window: analysis of the gaze and trompe l'oeil

Why does this young girl painted in 1645 seem so alive? An analysis of the direct gaze, gesture, window sill, impasto and uncertain identity of the model. Read more...

Rembrandt, Le Cavalier polonais, vers 1655, Frick Collection

Rembrandt's Polish Horseman: Identity, Attribution and Enigma

Who is the mysterious young armed horseman painted around 1655? A visual investigation into his costume, landscape, attribution history, and the assumptions surrounding this Frick Collection masterpiece. Read more...

Rembrandt, Le Retour du fils prodigue, père accueillant son fils agenouillé

The Return of Rembrandt's Prodigal Son: Analysis, Symbols and History

A father welcomes his son on his knees: complete analysis of Rembrandt's late masterpiece, its light, its symbols, its material and its history at the Hermitage. Read more...

Rembrandt richement vêtu et appuyé sur un parapet dans son Autoportrait à l’âge de 34 ans de 1640

Self-portrait of Rembrandt from 1640: ambition and reference to the masters

Analysis of Rembrandt's Self-Portrait of 1640: parapet pose, Renaissance costume and references to Titian, Raphael and Dürer in the service of the painter's ambition. Read more...

Rembrandt âgé, bouche entrouverte, dans l’autoportrait dit en Zeuxis conservé à Cologne

Self-portrait of Rembrandt as Zeuxis: laughter, old age and attribution

Does Rembrandt's famous laughing self-portrait really depict Zeuxis? Analysis of laughter, old age, matter and attributions proposed for the enigmatic Cologne painting. Read more...

Rembrandt debout au chevalet avec son appui-main, autoportrait de 1660 conservé au Louvre

Self-portrait of Rembrandt on the easel: analysis of the artist at work

In the self-portrait of the Louvre from 1660, Rembrandt depicts himself standing in front of his easel. Analysis of the gaze, tools, light, material and ambition of the painter at... Read more...

La Nuit étoilée sur le Rhône de Vincent van Gogh, Arles en bleu et or

Starry Night Over the Rhône: An Arles Night in Blue and Gold

Analysis of The Starry Night on the Rhône by Van Gogh: history, composition, colors, reflections, letters, place in Arles and difference with the painting of 1889. Read more...