b. 1606 Leiden, The Netherlands, d. 1669 Amsterdam,Dutch painter, draughtsman and etcher. From 1632 onwards he signed his works with only the forename Rembrandt; in documents, however, he continued to sign Rembrandt van Rijn (occasionally van Rhyn), initially with the addition of the patronymic 'Harmensz.'. This was no doubt in imitation of the great Italians such as Leonardo, Michelangelo, Raphael and Titian, on whom he modelled himself, sometimes literally. He certainly equalled them in fame, and not only in his own country. His name still symbolizes a whole period of art history rightfully known as 'Holland's Golden Age'. In 1970-71 a great exhibition in Paris was devoted to it under the eloquent title Le Si?cle de Rembrandt. A century before, a popular work of cultural history by C. Busken Huet referred to the Netherlands as 'the land of Rembrandt'. His fame is partly due to his multi-faceted talent. Frans Hals was perhaps at times a greater virtuoso with the brush but remained 'only' a portrait painter. Vermeer may have excelled Rembrandt in the art of illusion but was less prolific. Rembrandt was not only a gifted painter but also an inspired graphic artist: he has probably never been surpassed as an etcher, and he often seems inimitable as a draughtsman. His subjects reflect his manifold talent and interests. He painted, drew and etched portraits, landscapes, figures and animals, but, above all, scenes of biblical and secular history and mythology.  Related Paintings of Rembrandt Harmensz Van Rijn :. | batavernas trohetsed till claudius civilis | Stadt auf einem Hugel bei sturmischem Wetter | Hendrickje Stoffels in the Window | City wall in the winter | Saskia with a Child |
Related Artists:
Louis Leopold Boilly
b.July 5, 1761, La Bass??e, France d. Jan. 4, 1845, Paris French Louis Leopold Boilly Location
Alexander Mann
Alexander Mann (January 22, 1853 - January 26, 1908) was a Scottish landscape and genre painter. He was a member of New English Art Club and Royal Institute of Oil Painters. Alexander Mann was born in Glasgow, Scotland on January 22, 1853. He died in London on January 26, 1908. The second son of James Mann, merchant and collector, he took drawing lessons from the age of ten with Robert Greenlees (1820-94) and then attended evening classes at the Glasgow School of Art, where Greenlees was headmaster. In 1877 he went to Paris and enrolled at the Academie Julian, and then studied under Mihely Munk? - sy and from 1881 to 1885 under Carolus-Duran. From 1883-93 Mann exhibited in London at the Royal Academy, Royal Institute of Oil Painters, Fine Art Society, New Gallery, Ridley Art Club, New English Art Club and Society of British Artists, a society that appointed James McNeill Whistler its President in 1886. At the same year he was invited to become the first Scottish member of the New English Art Club and was joined by several of his friends, notably John Lavery, Thomas Millie Dow of the Glasgow Boys and Norman Garstin. Influenced by the Hague school and by Jules Bastien-Lepage, his picture A Bead Stringer, Venice gained an honorable mention at the Salon in 1885. After a public controversy over this painting when it was exhibited at the Royal Glasgow Institute, Mann settled in England, at West Hagbourne, Berkshire, and later in the neighboring village of Blewbury, where he painted a series of views of the Downs and portraits of country people. Mann traveled extensively in Britain, paying several visits to the coast in Angus and Fife, and to Walberswick, Suffolk.
Guido Cagnacci
(January 19, 1601 - 1663) was an Italian painter of the late-Baroque period, belonging to the Forle painting school and to the Bolognese School. Born in Santarcangelo di Romagna near Rimini, he died in Vienna in 1663. He worked in Rimini from 1627 to 1642. After that, he was in Forle, where absorbed the lesson of the Melozzo's painting. Prior to that he had been in Rome, in contact with Guercino, Guido Reni and Simon Vouet. He may have had an apprenticeship with the elderly Ludovico Carracci. His initial output includes many devotional subjects. But moving to Venice under the name of Guico Baldo Canlassi da Bologna, he renewed a friendship with Nicolas Regnier, and dedicated himself to private salon paintings, often depicting sensuous naked women from thigh upwards, including Lucretia, Cleopatra, and Mary Magdalene.This allies him to a strand of courtly painting, epitomized in Florence by Francesco Furini, Simone Pignoni and others. In 1650, he moved to Venice. In 1658, he traveled to Vienna, where he remained under patronage of the emperor Leopold I. His life was at times tempestuous, as characterized by his failed elopement (1628) with an aristocratic widow. Some contemporaries remark him as eccentric, unreliable and of doubtful morality. He is said to have enjoyed the company of cross-dressing models.