Rembrandt works. Rembrandt Harmens van Rijn - biography and paintings

Rembrandt Harmens van Rijn (Dutch: Rembrandt Harmenszoon van Rijn [ˈrɛmbrɑnt ˈɦɑrmə(n)soːn vɑn ˈrɛin], 1606-1669) - Dutch artist, draftsman and engraver, great master of chiaroscuro, the largest representative of the golden age of Dutch painting. He managed to embody in his works the entire spectrum of human experiences with such emotional richness that fine art had never known before. Rembrandt's works, extremely diverse in genre, reveal to the viewer the timeless spiritual world of human experiences and feelings.

Rembrandt Harmenszoon (“son of Harmen”) van Rijn was born on July 15, 1606 (according to some sources, in 1607) in the large family of the wealthy mill owner Harmen Gerritszoon van Rijn in Leiden. Even after the Dutch Revolution, the mother's family remained faithful to the Catholic religion.

In Leiden, Rembrandt attended the Latin school at the university, but showed the greatest interest in painting. At the age of 13, he was sent to study fine art with the Leiden historical painter Jacob van Swanenburch, a Catholic by faith. Researchers have not been able to find works by Rembrandt dating back to this period, so the question of Swanenbuerch’s influence on the development of Rembrandt’s creative style remains open: too little is known today about this Leiden artist.

In 1623, Rembrandt studied in Amsterdam with Pieter Lastman, who had trained in Italy and specialized in historical, mythological and biblical subjects. Returning to Leiden in 1627, Rembrandt, together with his friend Jan Lievens, opened his own workshop and began to recruit students. Within a few years he became widely known.

Lastman's passion for variegation and detail in execution had a huge influence on the young artist. It clearly comes through in his first surviving works - “The Stoning of St. Stephen" (1629), "Scene from Ancient History" (1626) and "The Baptism of the Eunuch" (1626). In comparison with his mature works, they are unusually colorful; the artist strives to carefully describe every detail of the material world, to convey the exotic setting of biblical history as accurately as possible. Almost all the heroes appear before the viewer dressed in fancy oriental outfits, shining with jewelry, which creates an atmosphere of pomp, pomp, and festivity (“Allegory of Music,” 1626; “David before Saul,” 1627).

The final works of the period - “Tobit and Anna”, “Balaam and the Donkey” - reflect not only the artist’s rich imagination, but also his desire to convey the dramatic experiences of his characters as expressively as possible. Like other Baroque masters, he begins to grasp the value of sharply sculpted chiaroscuro to convey emotion. His teachers in terms of working with light were the Utrecht Caravaggists, but to an even greater extent he was guided by the works of Adam Elsheimer, a German who worked in Italy. The most Caravaggist paintings by Rembrandt are “The Parable of the Foolish Rich Man” (1627), “Simeon and Anna in the Temple” (1628), “Christ at Emmaus” (1629).

Adjacent to this group is the painting “The Artist in His Studio” (1628; perhaps this is a self-portrait), in which the artist captured himself in the studio at the moment of contemplating his own creation. The canvas being worked on is brought to the forefront of the painting; in comparison with him the author himself seems like a dwarf.

One of the unresolved issues in Rembrandt’s creative biography is his artistic overlap with Lievens. Working side by side, they took on the same plot more than once, such as “Samson and Delilah” (1628/1629) or “The Raising of Lazarus” (1631). In part, both were drawn to Rubens, who was then known as the best artist in all of Europe; sometimes Rembrandt borrowed Lievens’s artistic discoveries, sometimes it was exactly the opposite. For this reason, distinguishing between the works of Rembrandt and Lievens of 1628-1632 presents certain difficulties for art historians. Among his other famous works is “Balaam’s Donkey” (1626).

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Rembrandt Harmensz van Rijn (1606-1669) the greatest Dutch artist, painter, etcher and draftsman. Born into a miller's family in Leiden, where he worked until about 1632, after which he moved to Amsterdam. In 1634, Rembrandt married a girl from a wealthy family, Saskia van Uylenburch, whose image was immortalized by him in many portraits with extraordinary tenderness and love.

Since the 1640s, in Rembrandt’s work, especially in paintings on religious themes, chiaroscuro has become important, creating a tense emotional atmosphere. The artist is interested in the hidden essence of phenomena, the complex inner world of the people depicted.

In 1642, fate deals a heavy blow to Rembrandt - Saskia dies. In the same year, he painted his most outstanding and famous painting, Night Watch, the compositional solution of which has nothing in common with the traditional group portrait.

His latest works amaze with the precision of his craftsmanship. In Rembrandt’s last self-portraits, which became the pinnacle of his unparalleled portrait gallery, the viewer is presented with a man stoically enduring difficult trials and the bitterness of loss (in 1668 he lost his beloved Hendrickje Stoffels, and in 1668 his son Titus).

Rembrandt created wonderful works in almost all genres and used a variety of writing techniques (painting, drawing, etching). The greatest master, he influenced many famous artists. The halo of fame around Rembrandt's name did not fade, and after his death, he received true recognition as one of the outstanding painters of all time.

Rembrandt's paintings:

		Danae 1636-1647

"Flora" (1641, Dresden)

Parable of the Rich Man (1627, Berlin)

Return of 30 pieces of silver by Judas (1629, private collection)

Self-Portrait (1629, Boston)

Jeremiah laments the destruction of Jerusalem (1630, Amsterdam)

Portrait of a Scientist (1631, Hermitage)

Anna the prophetess (1631, Amsterdam)

Apostle Peter (1631, Israel)

Storm on the Sea of ​​Galilee (1663, Boston)

Self-portrait with Saskia (1635, Dresden)

Belshazzar's Feast (1638, London)

The Preacher and his Wife (1641, Berlin)

“Saskia with a Red Hat” (1633/1634, Kassel)

Stone Bridge (1638, Amsterdam)

Portrait of Maria Tripp (1639, Amsterdam)

Sacrifice of Manoah (1641, Dresden)

Girl (1641, Warsaw)

Night Watch (1642, Amsterdam)

Holy Family (1645, Hermitage)

Flora (1654, New York)

Return of the Prodigal Son (c. 1666-69, Hermitage)

Saskia (1643, Berlin)

Conspiracy of Julius Civilis (1661, Stockholm)

Young woman trying on earrings (1654, Hermitage)

Syndics (1662, Amsterdam)

The Jewish Bride (1665, Amsterdam)

Portrait of Maertena Soolmansa (1634, private collection)

Allegory of music. 1626. Amsterdam.

Self-portrait
Martin Lauten
Man in oriental clothes

Portrait of Hendrickje Stofells

***

Self-portraitTobit, suspecting his wife of theft. 1626. Amsterdam. Balaam's donkey. 1626. Paris. Samson and Delilah. 1628. Berlin. Young Saxia. 1633. Dresden. Saxia van Uylenburch. 1634. Amsterdam. Portrait of Jan Utenbogaert. 1634. Amsterdam. Flora. 1633-34. Hermitage Museum. Saint Petersburg. The Rape of Ganymede. 1635. Dresden. The blinding of Samson. 1636. Frankfurt am Main. Abraham's sacrifice. 1635. Hermitage. Saint Petersburg Andromeda.1630-1640. Hague. David and Jonathan.1642. Hermitage Museum. Saint Petersburg. Mill.1645. Washington. Still life with a peacock. 1640s. Amsterdam. Portrait of an old warrior. 1632-34. Los Angeles. Susanna and the Elders.1647. Berlin-Dahlem. A man in a golden helmet. 1650. Berlin-Dahlem. Aristotle with a bust of Homer. 1653. New York. Bathsheba. 1654. Louvre. Paris. Portrait of Jan Sixt. 1654. Amsterdam. Joseph's accusation. 1655. Washington. Hendrickje entering the river. 1654. London. Blessing of Jacob.1656. Kassel. Denial of the Apostle Peter. 1660. Amsterdam. Hendrikje at the window.1656-57. Berlin. Evangelist Matthew and the angel. 1663. Louvre. Paris. Frederick Riel on horseback.1663. London. Portrait of an old woman. 1654. Hermitage. St. Petersburg. Conspiracy of the Batavians.1661-62. Stockholm. Portrait of Jeremiah Dekker.1666. Hermitage Museum. Saint Petersburg. Self-portrait.1661. Amsterdam. Rembrandt Harmens van Rijn(Rembrandt Harmensz van Rijn) (1606-1669), Dutch painter, draftsman and etcher. Rembrandt's work, imbued with a desire for a deeply philosophical understanding of life, the inner world of man with all the richness of his spiritual experiences, marks the pinnacle of the development of Dutch art of the 17th century, one of the peaks of world artistic culture. Rembrandt's artistic heritage is exceptionally diverse: he painted portraits, still lifes, landscapes, genre scenes, paintings on historical, biblical, and mythological themes. Rembrandt was an unrivaled master of drawing and etching. After a short study at the University of Leiden (1620), Rembrandt decided to devote himself to art and studied painting with J. van Swanenburch in Leiden (circa 1620-1623) and P. Lastman in Amsterdam (1623); in 1625-1631 he worked in Leiden. Rembrandt's paintings of the Leiden period are marked by a search for creative independence, although the influence of Lastman and the masters of Dutch Caravaggism is still noticeable in them (“Bringing to the Temple”, circa 1628-1629, Kunsthalle, Hamburg). In the paintings “The Apostle Paul” (circa 1629-1630, National Museum, Nuremberg) and “Simeon in the Temple” (1631, Mauritshuis, The Hague), he first used chiaroscuro as a means of enhancing the spirituality and emotional expressiveness of images. During these same years, Rembrandt worked hard on the portrait, studying the facial expressions of the human face. In 1632, Rembrandt moved to Amsterdam, where he soon married the wealthy patrician Saskia van Uylenburgh. The 1630s are a period of family happiness and enormous artistic success for Rembrandt. The painting “The Anatomy Lesson of Doctor Tulp” (1632, Mauritshuis, The Hague), in which the artist innovatively solved the problem of a group portrait, giving the composition a vital ease and uniting those portrayed in a single action, brought Rembrandt wide fame. In portraits painted for numerous orders, Rembrandt van Rijn carefully conveyed facial features, clothing, and jewelry (the painting “Portrait of a Burgrave,” 1636, Dresden Gallery).

But Rembrandt’s self-portraits and portraits of people close to him were freer and more varied in composition, in which the artist boldly experimented in search of psychological expressiveness (self-portrait, 1634, Louvre, Paris; “Smiling Saskia”, 1633, Picture Gallery, Dresden). The search for this period was completed by the famous “Self-Portrait with Saskia” or “Merry Society”; circa 1635, Picture Gallery, Dresden), boldly breaking with artistic canons, distinguished by the lively spontaneity of the composition, free manner of painting, and a major, light-filled, colorful range.

Biblical compositions of the 1630s (“Sacrifice of Abraham”, 1635, State Hermitage Museum, St. Petersburg) bear the stamp of the influence of Italian Baroque painting, which is manifested in the somewhat forced dynamics of the composition, sharp angles, and light and shadow contrasts. A special place in Rembrandt’s work of the 1630s is occupied by mythological scenes in which the artist boldly challenged classical canons and traditions (“The Rape of Ganymede”, 1635, Art Gallery, Dresden).

A vivid embodiment of the artist’s aesthetic views was the monumental composition “Danae” (1636-1647, State Hermitage Museum, St. Petersburg), in which he seemed to enter into a polemic with the great masters of the Renaissance: he executed the nude figure of Danae, far from classical ideals, with a bold realistic spontaneity, and contrasted the sensual-physical, ideal beauty of the images of Italian masters with the beauty of spirituality and warmth of human feeling. During the same period, Rembrandt worked a lot in the techniques of etching and engraving (“Woman Piss”, 1631; “Seller of Rat Poison”, 1632; “The Wandering Couple”, 1634), creating bold and generalized pencil drawings.

In the 1640s, a conflict was brewing between Rembrandt’s work and the limited aesthetic demands of his contemporary society. It clearly manifested itself in 1642, when the painting “Night Watch” (Rijksmuseum, Amsterdam) caused protests from customers who did not accept the master’s main idea - instead of a traditional group portrait, he created a heroically upbeat composition with a scene of a performance by the guild of shooters at an alarm signal, i.e. . essentially a historical picture that evokes memories of the liberation struggle of the Dutch people. The influx of orders for Rembrandt is dwindling, his life circumstances are overshadowed by the death of Saskia. Rembrandt's work is losing its external effectiveness and its previously inherent notes of major. He writes calm biblical and genre scenes filled with warmth and intimacy, revealing subtle shades of human experiences, feelings of spiritual, family closeness (“David and Jonathan”, 1642, “Holy Family”, 1645, both in the Hermitage, St. Petersburg).

The subtlest play of light and shadow, creating a special, dramatic, emotionally intense atmosphere, is becoming increasingly important both in painting and in Rembrandt’s graphics (the monumental graphic sheet “Christ Healing the Sick” or “The Hundred Guilder Sheet”, circa 1642-1646; full air and light dynamics landscape “Three Trees”, etching, 1643). The 1650s, filled with difficult life trials for Rembrandt, ushered in the period of the artist’s creative maturity. Rembrandt increasingly turns to the portrait genre, depicting those closest to him (numerous portraits of Rembrandt’s second wife Hendrikje Stoffels; “Portrait of an Old Woman”, 1654, State Hermitage Museum, St. Petersburg; “Son Titus Reading”, 1657, Kunsthistorisches Museum, Vienna ).

The artist is increasingly attracted to images of ordinary people, old people, serving as the embodiment of life wisdom and spiritual wealth (the so-called “Portrait of the Artist’s Brother’s Wife”, 1654, State Museum of Fine Arts, Moscow; “Portrait of an Old Man in Red”, 1652-1654, Hermitage, St. -Petersburg). Rembrandt focuses on the face and hands, snatched from the darkness by soft diffused light, subtle facial expressions reflect the complex movement of thoughts and feelings; sometimes light, sometimes pasty brush strokes create the surface of the painting shimmering with colorful and light-and-shade shades.

In the mid-1650s, Rembrandt acquired mature painting skills. The elements of light and color, independent and even partly opposite in the artist’s early works, now merge into a single interconnected whole. The hot red-brown, now flaring up, now fading, quivering mass of luminous paint enhances the emotional expressiveness of Rembrandt’s works, as if warming them with a warm human feeling. In 1656, Rembrandt was declared an insolvent debtor, and all his property was sold at auction. He moved to the Jewish quarter of Amsterdam, where he spent the rest of his life in extremely cramped circumstances. The biblical compositions created by Rembrandt in the 1660s sum up his thoughts about the meaning of human life. In episodes expressing the clash of dark and light in the human soul (“Assur, Haman and Esther”, 1660, Pushkin Museum, Moscow; “The Fall of Haman” or “David and Uriah”, 1665, State Hermitage, St. Petersburg), a rich warm palette , flexible impasto style of painting, intense play of shadow and light, complex texture of the colorful surface serve to reveal complex collisions and emotional experiences, affirm the triumph of good over evil.

The historical painting “The Conspiracy of Julius Civilis” (“The Conspiracy of the Batavians,” 1661, a fragment has been preserved, the National Museum, Stockholm) is imbued with severe drama and heroism. In the last year of his life, Rembrandt created his main masterpiece - the monumental canvas “The Return of the Prodigal Son” (circa 1668-1669, State Hermitage Museum, St. Petersburg), which embodied all the artistic, moral and ethical issues of the artist’s late work. With amazing skill, he recreates in it a whole range of complex and deep human feelings, subordinating artistic means to reveal the beauty of human understanding, compassion and forgiveness. The culminating moment of the transition from tension of feelings to the resolution of passions is embodied in sculpturally expressive poses, spare gestures, in the emotional structure of color, flashing brightly in the center of the picture and fading in the shadowed space of the background. The great Dutch painter, draftsman and etcher Rembrandt van Rijn died on October 4, 1669 in Amsterdam. The influence of Rembrandt's art was enormous. It affected the work not only of his immediate students, of whom Carel Fabricius came closest to understanding the teacher, but also on the art of every more or less significant Dutch artist. Rembrandt's art had a profound impact on the development of all world realistic art subsequently.

And his work, presented in the article, will introduce you to one of the greatest artists of all time. Rembrandt Harmens van Rijn (life - 1606-1669) - famous Dutch painter, etcher and draftsman. His work is permeated with the desire to comprehend the essence of life, as well as the inner world of man. Rembrandt was interested in the richness of spiritual experiences inherent in people. The work of this artist is the pinnacle of Dutch art of the 17th century. It is also considered one of the most important pages of artistic culture around the world. Even people far from painting know his works. Rembrandt is an amazing artist whose life and work will certainly interest you.

Rembrandt's artistic heritage

The artistic heritage that he left us is extremely diverse. Rembrandt painted portraits, landscapes, still lifes, and genre scenes. He created paintings on mythological, biblical, historical themes, as well as other works. Rembrandt is an unsurpassed master of etching and drawing.

Life in Leiden

Rembrandt's life in 1620 was marked by a short period of study. He then decided to devote his life entirely to art. To this end, he studied first in Leiden with J. van Swanenburch (around 1620-23), and then in Amsterdam with P. Lastman (in 1623). Between 1625 and 1631 the artist worked in Leiden. Rembrandt created his first works here.

It should be noted that his works dating back to the Leiden period are characterized by the search for creative independence of the author, despite the fact that the influence of Lastman, as well as representatives of Dutch Caravaggism, is noticeable in them. An example is the work “Bringing to the Temple,” created around 1628-29. In “The Apostle Paul” (circa 1629-30), as well as in “Simeon in the Temple” (1631), the artist first resorted to chiaroscuro as a means designed to enhance the emotional expressiveness and spirituality of the images. At the same time, Rembrandt worked hard on the portrait. He studied facial expressions.

1630 years in the life of Rembrandt

An important event in the life of the master occurred in 1632. The biography of the artist Rembrandt was marked by the move to Amsterdam. His biography relating to this time is as follows.

In Amsterdam, the artist we are interested in soon got married. His chosen one was Saskia van Uylenburgh, a wealthy patrician (her portrait is presented above). This woman was an orphan. Her father was a member of the Friesland council, burgomaster of Leeverden. Saskia's two brothers were lawyers. Among this woman's relatives are many government officials and scientists. She brought a ray of happiness into the artist’s lonely home. Rembrandt furnished his house with many rare objects, as a result of which it became a real museum. The master spent a lot of time in junk shops, sales and auctions. He bought prints and paintings, Indian and Chinese carved trinkets, old weapons, statues, valuable crystal and porcelain. All these things served as the background for the paintings he created. They inspired the artist. Rembrandt loved to dress his wife in velvet, brocade and silk. He showered her with pearls and diamonds. His life unfolded easily and joyfully, full of creativity, labor and love. In general, the 1630s are a time of family happiness and great artistic success.

Portraits of the 1630s

All portraits dating back to the 1630s demonstrate Rembrandt's subtlety and powers of observation. This brings him closer to Keyser, van der Helst, Rubens and Van Dijk. These paintings are usually made on a light gray, flat background. His works are often oval in format. Rembrandt created portraits that amaze with their enormous plastic power. It is achieved by simplifying chiaroscuro and black and white harmony, as well as by directing the model’s gaze. All works are full of dignity, attracting attention with composition and dynamic ease. The paintings of the Amsterdam period, compared to the Leiden ones, have a smoother texture. The rhythm of the hands has a symbolic meaning (the artist deliberately does not show one hand). This, as well as the turn of the figure’s head, recalls the variability and transience of the Baroque.

Characteristics of some portraits of 1630

When describing the life and work of Rembrandt during this period, one cannot help but turn to the portraits he created. They are quite numerous. Rembrandt's "The Anatomy Lesson of Dr. Tulp" (pictured above) was created in 1632. In it, the author took an innovative approach to solving the problem of a group portrait, resulting in a relaxed composition. Rembrandt united all the people represented in the painting with a single action. This work brought him great fame.

In other portraits, created according to numerous orders, the artist carefully conveyed clothing, facial features, and jewelry. One example is the work “Portrait of a Burgrave”, which was painted in 1636 by Rembrandt Garmens van Rijn. The life and work of any artist are closely interconnected. For example, portraits of people close to Rembrandt, as well as his self-portraits (one of them, created in 1634, is presented above), are more varied and freer in composition. In them, the artist was not afraid to experiment, striving for psychological expressiveness. Here we should also mention the self-portrait created in 1634, and “Smiling Saskia”, painted in 1633.

The famous painting “Merry Society”, or “Self-Portrait with Saskia” (photo of this work is presented above), completed the quest of this period. It was painted around 1635. The life and work of the artist are revealed in a special way in this work. In it, he boldly breaks with the canons that existed at that time. The painting stands out for its free manner of painting, the lively spontaneity of the composition, as well as the light-filled, major, colorful palette.

Biblical compositions and mythological scenes 1630

In the 1630s, the artist also created biblical compositions. One of the most famous is the “Sacrifice of Abraham”. It dates back to 1635. Biblical compositions of this time are marked by the influence of Italian Baroque painting. Its impact is manifested in the dynamics of the composition (somewhat forced), light and shadow contrasts, and the sharpness of angles.

In Rembrandt's work of this time, a special place belongs to mythological scenes. In them, the artist did not follow classical traditions and canons, challenging them boldly. One of the works that can be noted here is The Rape of Ganymede (1635).

"Danae"

The monumental composition entitled “Danae” fully embodied Rembrandt’s aesthetic views. In this work, he seems to enter into an argument with the great artists of the Renaissance. The nude figure of Danae depicted by Rembrandt does not correspond to classical ideals. The artist completed this work with realistic spontaneity, very bold for that time. He contrasted the ideal, sensual-physical beauty of the images created by Italian masters with spiritual beauty, as well as the warmth of human feeling.

Other jobs

Also in the 1630s, Rembrandt devoted a lot of time to working in the techniques of engraving and etching. One can note his works such as “The Wandering Couple” and “The Rat Poison Seller.” The artist also created pencil drawings, generalized in style and very bold.

Rembrandt's work in the 1640s

These years were marked by a conflict between Rembrandt's innovative works and the very limited demands of his contemporaries. This conflict clearly manifested itself in 1642. Then Rembrandt's work "Night Watch" caused violent protests from customers. They did not accept the artist's main idea. Rembrandt, instead of the usual group portrait, depicted a heroically upbeat composition in which, at the alarm, the guild of shooters steps forward. That is, it was, one might say, She awakened the memories of contemporaries about the liberation war waged by the Dutch people.

After this work, the influx of orders for Rembrandt decreased. His life was also darkened by the death of Saskia. In the 1640s, the artist’s work lost its external effectiveness. The major notes that were characteristic of it earlier also disappeared. Rembrandt begins to paint calm genre and biblical scenes, full of intimacy and warmth. In them he reveals the subtlest shades of experiences, feelings of family, spiritual closeness. Among these works, it is worth noting the “Holy Family” of 1645, as well as the painting “David and Jonathan” (1642).

Both in Rembrandt’s graphics and painting, a very subtle play of chiaroscuro is becoming increasingly important. It creates a special atmosphere - emotionally intense, dramatic. Of note are Rembrandt's monumental graphic sheet "Christ Healing the Sick" as well as the "Hundred Guilder Sheet", created around 1642-46. You should also call the landscape of 1643 “Three Trees”, full of light and air dynamics.

1650 in the works of Rembrandt

This time was marked by difficult life trials that befell the artist. It was in 1650 that the period of his creative maturity began. Rembrandt begins to turn more and more often to portraiture. He portrays the people closest to him. Among these works, it is worth noting numerous portraits of Hendrikje Stoffels, the artist’s second wife. Also quite remarkable is the “Portrait of an Old Woman” created in 1654. In 1657, the artist painted another of his famous works, “Son Titus Reading.”

Images of ordinary people and old people

Images of ordinary people, especially old people, increasingly attract the artist. In his works they are the embodiment of spiritual wealth and life wisdom. In 1654, Rembrandt created "Portrait of the Artist's Brother's Wife", and in 1652-1654 - "Portrait of an Old Man in Red" (pictured above). The painter begins to become interested in the hands and face, which are illuminated by soft light. It’s as if they were snatched from the darkness. The faces of the figures are characterized by barely noticeable facial expressions. This shows the complex movement of their feelings and thoughts. Rembrandt alternates light and impasto strokes, which makes the surface of the painting shimmer with light and shadow and colorful shades.

Difficult financial situation

In 1656, the artist was declared an insolvent debtor, as a result of which all his property was sold under the hammer. Rembrandt was forced to move to the Jewish quarter of the city of Amsterdam. Here he spent the rest of his life in extremely cramped conditions.

Works of Rembrandt Harmensz van Rijn 1660

Biblical compositions created in the 1660s sum up Rembrandt's reflections on the meaning of life. In his work of this time there are paintings dedicated to the clash of light and dark principles in the human soul. A number of works on this topic were created by Rembrandt Harmens van Rijn, whose biography and list of paintings interest us. Among such works, it is worth noting the work "Assur, Haman and Esther", created in 1660; and also "David and Uriah", or "The Fall of Haman" (1665). They are characterized by a flexible brushwork style, warm rich colors, complex surface texture, and intense play of light and shadow. All this is necessary for the artist to reveal complex emotional experiences and conflicts, to affirm the victory of good over evil.

Rembrandt's historical painting entitled The Conspiracy of Julius Civilis, also known as The Conspiracy of the Batavians, was created in 1661. It is imbued with heroism and harsh drama.

"Return of the Prodigal Son"

In the last year of his life, the artist created the work “The Return of the Prodigal Son.” It dates from 1668-69. This monumental painting is Rembrandt's main masterpiece. It embodies all the moral, aesthetic and artistic issues characteristic of the late period of his work. The artist with the highest skill recreates in this picture a whole range of deep and complex human feelings. He subordinates artistic means to revealing the beauty of forgiveness, compassion, and understanding. The culmination of the transition from tension of feelings to the successful resolution of passions is embodied in spare gestures and expressive poses. In the photo above you can see this last work by Rembrandt.

Rembrandt's death, the significance of his work

The famous Dutch painter, etcher and draftsman died in Amsterdam on October 4, 1669. Harmens van Rijn Rembrandt, whose works are known and loved by many, had a huge influence on the further development of painting. This is noticeable not only in the work of his students, of whom Carel Fabricius came closest to understanding Rembrandt, but also in the works of every Dutch artist, more or less significant. The paintings of many masters reflect the influence of artists such as Rembrandt van Rijn. The work "The Swamp", authored by Jacob van Ruisdael, is probably one of these works. It shows a desert part of the forest area flooded with water. This picture carries a symbolic meaning.

Subsequently, the great Rembrandt had a strong influence on the development of realistic art in general. His paintings and biography are still of interest to many people. This suggests that his work is indeed quite valuable. Rembrandt's masterpieces, many of which were described in this article, still inspire artists.

Creation Rembrandt Harmens van Rijn(1606-1669) marks the highest flowering of Dutch art of the 17th century and one of the peaks of world art in general. Democratic and truly humane, imbued with ardent faith in the triumph of just principles of life, it embodied the most advanced and life-affirming ideas of its time. The artist raised fine art to a new level, enriching it with unprecedented vitality and psychological depth. Rembrandt created a new pictorial language, in which the main role was played by finely developed techniques of chiaroscuro and rich, emotionally intense color. The spiritual life of man has now become accessible to depiction through realistic art.

Rembrandt was an innovator in many genres. As a portrait painter, he was the creator of a unique genre of portrait-biography, where a person’s long life and his inner world were revealed in all its complexity and contradictions. As a historical painter, he transformed distant ancient and biblical legends into a story about real earthly human feelings and relationships, warmed by high humanism.

The mid-1630s is the time of Rembrandt’s greatest proximity to the pan-European Baroque style, lush and noisy, full of theatrical pathos and stormy movement, contrasts of light and shadow, the contradictory juxtaposition of naturalistic and decorative moments, sensuality and cruelty.

IN Baroque period written "Descent from the Cross"(1634). The painting illustrates the Gospel legend about how Joseph of Arimathea, Nicodemus and other disciples and relatives of Christ, having received Pilate’s permission, took down the body of Christ at night, wrapped it in a rich shroud and buried it.

The legend is told by Rembrandt with stunning life-like truth. The tragic death of the teacher and son plunged the participants in the event into deep grief. The artist peers into faces, trying to penetrate people’s souls, to read everyone’s reaction to what is happening. He excitedly conveys the fainting of Mary, the mother of Christ, the crying and groaning of women, the suffering and sorrow of men, the fear and curiosity of teenagers.

In this work, Rembrandt based himself on the famous Rubens painting of the same name, using individual compositional motifs of the great Fleming and trying to surpass him in expressing the spiritual movements of the characters.

Another important achievement of this painting, along with the individualization of the feelings of the characters, was the use of light to achieve the integrity of the multi-figure composition. The three main moments of the legend - the descent from the cross, the fainting of Mary and the spreading of the shroud - are illuminated by three different light sources, the intensity of which decreases in accordance with the decreasing significance of the scene.

The beginning of a new period in the life and creative activity of the master was marked by two important events that occurred in 1642: the untimely death of Saskia, his beloved wife, who left him a one-year-old son, and the creation of the painting “Night Watch” - a large group portrait of the Amsterdam shooters, the most famous works of the master.

A family tragedy and the completion of an important commission confronted Rembrandt with difficult problems in his personal and creative life. The artist emerges from this crisis matured and wise. His art becomes more serious, more collected and deeper, and most importantly, his interest in the inner life of a person, in what is going on in his soul, becomes more and more clear.

In close connection with the evolution of Rembrandt’s work in the 1640s, one should also consider one of the artist’s most important works - "Danae", although there is a date on the picture 1636. Rembrandt was inspired by his first love, Saskia, to create the image of Danae, the legendary Greek princess imprisoned by her father to avoid his predicted death at the hands of his grandson. But ten years later, as recent research has shown, the artist, dissatisfied with the initial decision, significantly reworks the image of the main character. Apparently, the model for the final version of the painting was Gertje Dirks, a young widow who settled in Rembrandt’s house after Saskia’s death, first as a nanny for one-year-old Titus, and then as a full mistress. Thus, the head, right hand and, to a large extent, the body of Danae, waiting in her prison for her lover (according to legend, Zeus, who fell in love with Danae, entered her in the form of a golden shower), as well as the figure of the old maidservant, were painted anew, in a bold, broad manner mid and second half of the 1640s. Almost all other details of the picture remained the same as they were painted in 1636, with a neat, drawing stroke characteristic of the previous period.

The coloring of the painting has also undergone significant changes. The original version was dominated by cool tones, typical of the mid-1630s. Having replaced the golden rain of the first version with golden light, as if foreshadowing the appearance of a loving god, Rembrandt now paints the central part of the picture in a warm tone with golden ocher and red cinnabar as dominants.

In the second version, that is, in 1646-1647, Danae received an in-depth psychological description, thanks to which the innermost inner world of a woman was revealed, the whole complex and contradictory range of her feelings and experiences. “Danae,” thus, is a clear concrete example of the formation of the famous Rembrandt psychologism.

Rembrandt's work in the 1650s is marked primarily by achievements in the field of portraiture. Externally, portraits of this period are distinguished, as a rule, by their large size and monumental forms. calm poses. Models usually sit in deep armchairs, with their hands on their knees and facing the viewer. The face and hands are highlighted with light. These are always elderly people, wise from long life experience - old men and women with the stamp of gloomy thoughts on their faces and hard work on their hands. Such models gave the artist brilliant opportunities to show not only the external signs of old age, but also the spiritual appearance of a person. In the Hermitage collection these works are well represented by uncommissioned portraits:

“The Old Man in Red”, “Portrait of an Old Lady” and “Portrait of an Old Jew”.

We do not know the name of the person who served as the model for the portrait "The Old Man in Red" Rembrandt painted it twice: in a portrait of 1652 (National Gallery, London) he is depicted sitting in a wingback chair, his head bowed on his right hand in deep thought; The Hermitage version treats the same theme - a person alone with his thoughts. This time the artist uses a strictly symmetrical composition, depicting an old man sitting motionless from the front. But the more noticeable is the movement of thought, the subtle change in facial expression: it seems now stern, now softer, now tired, now suddenly illuminated by a surge of inner strength and energy. The same thing happens with the hands: they seem to be either convulsively clenched or lying exhausted. The artist achieves this primarily thanks to the brilliant mastery of chiaroscuro, which, depending on its strength and contrast, introduces elegiac relaxation or dramatic tension into the image. The manner of applying paint to the canvas also plays a huge role. The old man’s wrinkled face and knobby, worn-out hands acquire artistic expressiveness thanks to a viscous mixture of paints, in which intertwining thick strokes convey the structure of the form, and thin glazes give it movement and life.

The nameless old man in red, with emphasized dignity, fortitude and nobility, became an expression of the new ethical position of the artist, who discovered that the value of an individual does not depend on a person’s official position in society.

By the mid-1660s, Rembrandt completed his most soulful work - "Return of the Prodigal Son" It can be seen as a testament to Rembrandt the man and Rembrandt the artist. It is here that the idea of ​​all-forgiving love for man, for the humiliated and suffering - the idea that Rembrandt served throughout his life - finds its highest, most perfect embodiment. And it is in this work that we encounter all the richness and variety of painting and technical techniques that the artist has developed over many decades of creativity.

Ragged, exhausted and sick, having squandered his fortune and abandoned by his friends, the son appears on the threshold of his father’s house and here, in the arms of his father, finds forgiveness and consolation. The immense bright joy of these two - the old man, who has lost all hope of meeting his son, and the son, overcome with shame and remorse, hiding his face on his father's chest - constitutes the main emotional content of the work. The involuntary witnesses to this scene stood silently, shocked.

The artist limits himself extremely to color. The picture is dominated by golden ocher, cinnamon red and black-brown tones with an endless wealth of subtle transitions within this meager range. A brush, a spatula, and a brush handle are involved in applying paint to the canvas; but even this seems insufficient to Rembrandt - he applies paint to the canvas directly with his finger (this is how, for example, the heel of the left foot of the prodigal son is painted). Thanks to a variety of techniques, an increased vibration of the paint surface is achieved - the paints either burn, or sparkle, or dully smolder, or as if glowing from within, and not a single detail, not a single, even the most insignificant, corner of the canvas leaves the viewer indifferent.

Only a person wise with enormous life experience and a great artist who has traveled a long way could create this brilliant and simple work.