Rembrandt’s 1635 “The Entombment” is a nocturne of grief and grace—mourners lower Christ by lamplight, the shroud glowing against a cavern of shadow. Intimate brushwork, tender chiaroscuro, and precise gesture turn burial into a moving study of love and hope.
Rembrandt’s 1635 “Abduction of Ganymede” overturns classical convention with a terrified toddler seized by Jupiter’s eagle. Stark chiaroscuro, crushing diagonals, and exquisitely observed textures turn the myth into a visceral study of power, innocence, and fate.
Rembrandt’s 1635 etching—long titled “The Great Jewish Bride”—presents Saskia seated in shadowed luxury, her calm face glowing amid sumptuous hair and fur. With masterful hatching and plate tone, the print blends portrait and allegory into a quiet study of presence.
Rembrandt’s 1635 etching presents St. Jerome as a kneeling hermit—hands clasped, head bowed, lion nearby—crafted with supple hatching and calm light. The small print transforms wilderness into a chapel and humility into the drama of line and shadow.
Rembrandt’s 1635 study page gathers multiple heads of Saskia—one luminous, one richly shadowed, one barely begun—revealing his process of looking, revising, and modeling light with supple lines and hatching in an intimate studio performance.
Rembrandt’s 1635 double portrait shows the artist and Saskia as the prodigal couple in a glowing tavern—raised glass, sumptuous costumes, glittering still life—blending biblical allegory with love, bravura textures, and warm chiaroscuro.
Rembrandt’s 1635 drawing of Saskia seated with a letter captures a private pause with lively lines and soft washes—fabric, light, and gesture shaping a luminous moment of reading and reflection in the artist’s early Amsterdam years.
Rembrandt’s 1635 “Saskia van Uylenburgh in Arcadian Costume” blends portrait and allegory—Saskia crowned with flowers, bouquet in hand, bathed in warm chiaroscuro—showcasing Dutch Golden Age luxury, pastoral symbolism, and the painter’s intimate affection.
Rembrandt’s 1635 drawing “Saskia Looking Out of a Window” captures a quiet urban pause—swift pen lines, soft washes, and a luminous sill frame Saskia’s thoughtful pose—revealing the artist’s gift for intimacy, atmosphere, and the poetry of everyday life.
Rembrandt’s 1635 “Samson Accusing His Father-in-Law” freezes the biblical dispute at the instant of accusation—light slashes across Samson’s brocade sleeve and the elder’s pleading face—turning gestures, thresholds, and shadow into a gripping study of pride, misunderstanding, and impending violence.
Rembrandt’s 1635 oval portrait of Philips Lucasz blends luminous realism and civic dignity—clean white lace, a disciplined gold chain, and restrained chiaroscuro—revealing a poised, thoughtful presence that exemplifies Dutch Golden Age portraiture.
Rembrandt’s 1635 “Portrait of a Man in Oriental Garment” turns exotic costume into a stage for light—towering white turban, glowing brown robe, discreet gold chain—while the unflinching face and masterful chiaroscuro create a timeless study of presence and authority.
Rembrandt’s 1635 oval portrait of Petronella Buys distills Dutch Golden Age elegance—radiant millstone ruff, delicate pearls, refined light—into a poised, psychologically vivid likeness that balances prosperity, restraint, and humane presence.
Rembrandt’s 1635 “Minerva” reimagines the goddess of wisdom as a reader in a richly appointed study—light caressing her face, hand on an open folio, armor resting in shadow—uniting sumptuous Baroque textures with a profound argument for intellect over spectacle.
Rembrandt’s 1635 etched portrait of the Remonstrant minister Johannes Uijtenbodaerd presents a scholar at his desk—light on face and manuscript, books within reach—uniting oval composition, masterful line, and humane psychology into a definitive image of Dutch Golden Age intellect.
Rembrandt’s 1635 “John the Baptist Preaching” stages a luminous hillside sermon where light maps understanding across a diverse crowd—children, elders, travelers—uniting atmospheric landscape, intricate composition, and human psychology into a profound meditation on listening.
Rembrandt’s 1635 drawing “Child in a Tantrum” turns a doorway struggle into vivid theater—swift pen lines and smoky washes capture a flailing toddler, calm adults, and the drama of everyday life with empathy, timing, and brilliant composition.
Rembrandt’s 1635 etching “Christ Driving the Moneychangers from the Temple” packs explosive drama into a crowded interior—Christ’s whip flashes, merchants scatter, animals bolt—using virtuoso line, architectural scale, and moral light to turn a Gospel episode into living cinema.