Literature reference and picture credits
Quotes
“yea many tymes blacksmithes, Coblers, etts., will have some picture or other by their Forge and in their stalle. […]”, Peter Mundy, 1640, quoted after: The Travels of Peter Mundy, in Europe and Asia, 1608-1667: Volume IV: Travels in Europe, 1639-1647, ed. by Sir Richard Temple abd Lavinia Anstey, Cambridge 1907-1925.
“In this house [the stock exchange] the entire world gathers to bargain. You will find […]“, Philipp von Zesen, 1664, quoted after: Filip von Zesen, Beschreibung der Stadt Amsterdam, 1664, p. 232f, trans. Städel Museum.
“I can look in astonishment at the tremendous amount of goods shipped in […]”, Caspar Barlaeus, 1632, quoted after: Caspar Barlaeus, The Wise Merchant, ed. by Anna-Luna Post, trans. by Corinna Vermeulen. Amsterdam: Amsterdam University Press, 2019, p. 73.
“It [Rembrandt’s workshop] is filled with countless noble youngsters who are there for […]”, Joachim von Sandrart, 1675, quoted after: Joachim von Sandrart, Teutsche Akademie, Vol II, Buch 3, 1675, p. 326, trans. Städel Museum
“His etchings have a lot in common with his way of painting. They are expressive and full of wit.”, Roger de Piles, 1715, quoted after: Roger de Piles, Abrégé de la vie des peintre, 1715, p. 421, trans. Städel Museum
“But that old rascal Rembrandt is a strong idealist, […]”, Charles Baudelaire, 1864, quoted after: Charles Baudelaire, Curiosités esthétiques, 1868, p. 87.
“It was Rembrandt’s huge painting The Blinding of Samson that terrified me, tormented me and kept me on a string. […]”, Elias Canetti, 1982, quoted after: Elias Canetti, The Torch in My Ear, trans. Joachim Neugroschel (New York: Farrar, Straus and Giroux, Inc.).
“Rembrandt van Rijn: invented his own rules of painting … he did not visit Italy […]”, Joachim von Sandrart, 1675, quoted after: Joachim von Sandrart, Teutsche Akademie, Vol II, Buch 3, 1675, p. 326, trans. Städel Museum.
Illustrations
Rembrandt van Rijn, Self-portrait in a Soft Hat and a Patterned Cloak, 1631, etching with touches of drypoint on laid paper, 14.8 × 13 cm, Fitzwilliam Museum, Cambridge
Rembrandt van Rijn, Self-portrait in a Soft Hat and a Patterned Cloak, 1631, etching on laid paper, 14.7 × 13.1 cm, Städel Museum, Frankfurt am Main
Pieter Codde, Connoisseurs Visiting an Artist's Studio, c. 1630, oil on panel, 38.3 × 49.3 cm, Staatsgalerie Stuttgart, Acquired with lottery funds in 1976, Photo: bpk Bildagentur / Staatsgalerie Stuttgart / Art Resource, NY
Job Adriaensz Berckheyde, The Stock Exchange in Amsterdam, c. 1675–80, oil on canvas, 62.2 × 52.8 cm, Städel Museum, Frankfurt am Main, CC BY-SA 4.0 Städel Museum, Frankfurt am Main
Nicolaes Eliasz Pickenoy, Portrait of a Man, 1628, oil on canvas, 196 × 126 cm, Staatliche Kunsthalle Karlsruhe, Karlsruhe
Rembrandt van Rijn, Portrait of a Standing Man (Andries de Graeff), 1639, oil on canvas, 199 × 123.5 cm, Museumslandschaft Hessen Kassel, Gemäldegalerie Alte Meister, Kassel, Photo: Ute Brunzel / bpk Bildagentur / Gemäldegalerie Alte Meister, Museumslandschaft Hessen Kassel / Art Resource, NY
Rembrandt van Rijn, The Drunken Lot, c. 1630–33, black and white chalk, traces of red chalk, with wash, on laid paper, 25.3 × 18.9 cm, Städel Museum, Frankfurt am Main, CC BY-SA 4.0 Städel Museum, Frankfurt am Main
Rembrandt van Rijn, Still Life with Peacocks, c. 1639, oil on canvas, 145 × 135.5 cm, Rijksmuseum, Amsterdam, Photo: Rijksmuseum
François van den Hoeye, Panoramic View of Amsterdam, c. 1620–25, etching and engraving on three sheets of laid paper, 24.3 × 122.4 cm, Rijksmuseum, Amsterdam, Photo: Rijksmuseum
Gerbrand van den Eeckhout, Portrait of Isaac Commelin, 1669, oil on canvas, 70.7 × 55.6 cm, Städel Museum, Frankfurt am Main, © Städel Museum, Frankfurt am Main, Photo: U. Edelmann
Filip von Zesen, Map of Amsterdam, 1664, engraving on laid paper, 24.1 × 46.2 cm, illustration from: Filip von Zesen, Beschreibung der Stadt Amsterdam (Amsterdam: Noschen, 1664), Städel Museum, Frankfurt am Main
Marcus Willemsz Doornik, frontispiece, illustration from: Tobias van Domselaer and Isaac Commelin, et al., Beschryvinge van Amsterdam: haar eerste oorspronk uyt den huyze der heeren van Aemstel en Aemstellant: met een verhaal van haar leven en dappere krijgsdaden … (Amsterdam: 1665), Rijksmuseum Research Library (Sign. 329 D 6)
Rembrandt van Rijn, Two African Men, 1661, oil on canvas, 77.8 × 64.4 cm, Mauritshuis, The Hague
Rembrandt van Rijn, Study of a black man, ca. 1650, black chalk and ink, 9.6 × 8.4 cm, Amsterdam Museum, Amsterdam
Zeeman (Reinier Nooms) (Dutch, 1623-1664), A View of the Amsterdam Harbor, ca. 1643-1664, oil on canvas, High Museum of Art, Atlanta, gift of the Walter and Frances Bunzl Foundation, 1991.300.
Rembrandt van Rijn, Tobit and Anna with the Kid (recto/verso), 1645, oil on panel, 20.2 × 28 cm, Staatliche Museen zu Berlin, Gemäldegalerie, Berlin, © Staatliche Museen zu Berlin, Gemäldegalerie / Christoph Schmidt
Rembrandt van Rijn, Portrait of Abraham Francen, c. 1647-67, etching, engraving and drypoint on Asian paper, 15,9 x 21 cm, The Rembrandt House Museum, Amsterdam, Copyright Museum Het Rembrandthuis © 2020
The Art Room in the Rembrandt House Museum, Amsterdam, Photo: © KIRSTENVANSANTEN
Rembrandt’s Funeral Medallion (recto/verso), 1634, Brass, 2.8 cm (diameter), Rembrandt House Museum, Amsterdam
Jan van der Straet, Color Olivi (Invention of Oil Painting), plate 14 in the Nova Reperta (New Inventions of Modern Times), c. 1591, engraving on laid paper, 23 × 29.7 cm, Staatliche Kunstsammlungen Dresden, Kupferstich-Kabinett, Dresden, © Kupferstich-Kabinett, SKD, Inv.-Nr. A 44995, Photo: Andreas Diesend
Rembrandt van Rijn, Self-portrait Leaning on a Stone Sill, 1639, etching on laid paper, 20.6 × 16.3 cm, National Gallery of Canada, Ottawa / Städel Museum, Frankfurt am Main, CC BY-SA 4.0 Städel Museum, Frankfurt am Main
Ferdinand Bol, Self-portrait, 1642, etching on laid paper, 13.7 × 11.2 cm, Städel Museum, Frankfurt am Main
Ferdinand Bol, Self-portrait, c. 1647, oil on canvas, 97.5 × 77.5 cm, Michele and Donald D’Amour Museum of Fine Arts, Springfield, The James Philip Gray Collection, Photography by David Stansbury // Photography Credit: The James Phillip Gray Collection
Rembrandt van Rijn, Tronie of a Man with a Feathered Beret, c. 1635–40, oil on panel, 62.5 × 47 cm, Mauritshuis, The Hague
Wallerant Vaillant, Self-portrait with Helmet, c. 1655, oil on canvas, 63.7 × 57.7 cm, Niedersächsisches Landesmuseum, Hannover, © Landesmuseum Hannover – ARTOTHEK
Pieter Lastman, The Expulsion of Hagar and Ishmael, 1612, oil on panel, 48.3 × 71.4 cm, Hamburger Kunsthalle, Hamburg, Photo: bpk Bildagentur / Hamburger Kunsthalle / Elke Walford / Art Resource, NY
Rembrandt van Rijn, The Expulsion of Hagar and Ishmael, c. 1637, black chalk on laid paper, 19.2 × 15 cm, Albertina, Vienna, Photo: Albertina Museum, © Albertina, Wien
Rembrandt van Rijn, The Expulsion of Hagar and Ishmael, 1637, etching and drypoint on laid paper, 12.6 × 9.5 cm, Städel Museum, Frankfurt am Main
Barnet Fabritius, The Expulsion of Hagar and Ishmael, c. 1650–60, oil on canvas, 109.9 × 109.9 cm, Fine Arts Museums of San Francisco, Anonymous gift, Image courtesy the Fine Arts Museums of San Francisco
Govert Flinck, The Expulsion of Hagar and Ishmael, c. 1642, oil on canvas, 110.7 × 138.8 cm, Staatliche Museen zu Berlin, Gemäldegalerie, Berlin, Photo: bpk Bildagentur / Gemäldegalerie, Staatliche Museen zu Berlin / Jörg P. Anders / Art Resource, NY
Rembrandt Workshop, attributed to Carel Fabritius, A Girl with a Broom, c. 1646/48–51, oil on canvas, 107.3 × 91.4 cm, National Gallery of Art, Washington, Andrew W. Mellon Collection, Photo: Courtesy National Gallery of Art
Rembrandt van Rijn, Self-portrait Etching at a Window, 1648, etching, engraving and drypoint on laid paper, 15.6 × 12.9 cm, Städel Museum, Frankfurt am Main, CC BY-SA 4.0 Städel Museum, Frankfurt am Main
Rembrandt van Rijn, The Angel Appearing to the Shepherds, 1634, etching, etching needle and dry-point, 26.6. x 22.3 cm, Städel Museum, Frankfurt am Main, © Städel Museum, Frankfurt am Main, Photo: U. Edelmann
Rembrandt van Rijn, Christ Preaching (The Hundred Guilder Print), c. 1648, etching, engraving and drypoint on India proof paper, mounted on Asian paper, 27.7 × 38.9 cm, National Gallery of Canada, Ottawa / Städel Museum, Frankfurt am Main
Paulus Pontius (after Peter Paul Rubens), Head of Socrates, 1638, etching, 31.1 × 21.3 cm, Rijksmuseum, Amsterdam, Photo: Rijksmuseum
Joachim von Sandrart, Head of Homer, c. 1629–35, red and black chalk, heightened with white on laid paper, 39.9 × 27 cm, Staatliche Kunstsammlungen Dresden, Kupferstich-Kabinett, Dresden, © Kupferstich-Kabinett, SKD, Inv.-Nr. C 1963-1973, Photo: Andreas Diesend
Marcantonio Raimondi (after Raphael), Plague among the Trojans (Il Morbetto), 1515–16, engraving on laid paper, 19.8 × 25.5 cm, Rijksmuseum, Amsterdam, Photo: Rijksmuseum
Rembrandt van Rijn, Copperplate for Etched Portrait of Clement de Jonghe, 1651, copper, 21 × 16.5 cm, Amsterdam Museum, Amsterdam, Purchased with the support of the Rembrandt Association, Photo: Amsterdam Museum
Rembrandt van Rijn, Portrait of Clement de Jonghe, 1651, etching, engraving and drypoint on laid paper, first state, 20.7 × 16.1 cm, Städel Museum, Frankfurt am Main / National Gallery of Canada, Ottawa
Rembrandt van Rijn, Heroine from the Old Testament, 1632/33, oil on canvas, 109.2 × 94.4 cm, National Gallery of Canada, Ottawa, Photo: NGC
Rembrandt van Rijn, Judith at the Banquet of Holofernes (formerly Artemisia), 1634, oil on canvas, 143 × 154.7 cm, Museo National del Prado, Madrid, Photo: © Museo Nacional del Prado, Madrid
Rembrandt van Rijn, David Playing the Harp for Saul, c. 1630–31, oil on panel, 62 × 50.1 cm, Städel Museum, Frankfurt am Main, © Städel Museum, Frankfurt am Main, Photo: U. Edelmann
Rembrandt van Rijn, The Blinding of Samson, 1636, oil on canvas, 219.3 × 305 cm, Städel Museum, Frankfurt am Main, CC BY-SA 4.0 Städel Museum, Frankfurt am Main
Kris, made in Java, 15th - 17th Century, Metal, 8.5 x 47 x 3.7 cm, The British Museum, London, © The Trustees of the British Museum, CC BY-NC-SA 4.0
Soldier Carrying the Head of a Slain Enemy to the Vizir, illustration from: The Ralamb Book of Costumes, 1658, Swedish National Library, Stockholm
Peter Paul Rubens, Prometheus Bound, c. 1611–18, oil on canvas, 242.6 × 209.6 cm, Philadelphia Museum of Art, Purchased with the W.P. Wilstach Fund, 1950, Photo: The Philadelphia Museum of Art / Art Resource, NY
Laocoön group of statues, photographed before 1906, Lacoön and His Sons, Athanodoro, Agesandro and Polidoro di Rodi, 40–30 CE, marble, 208 × 163 × 112 cm, Vatican Museums, Vatican City
Rembrandt van Rijn, The Three Trees, 1643, etching, engraving and drypoint on laid paper, 21.3 × 28 cm, National Gallery of Canada, Ottawa / Städel Museum, Frankfurt am Main, CC BY-SA 4.0 Städel Museum, Frankfurt am Main
Rembrandt van Rijn, Landscape with a Stone Bridge, c. 1638, oil on panel, 29.5 × 42.5 cm, Rijksmuseum, Amsterdam, Purchased with the support of the Rembrandt Association and A. Bredius, Amsterdam, Photo: Rijksmuseum
Jan Asselijn, The Tiber River with the Ponte Molle at Sunset, c. 1650, oil on canvas, 41.2 × 54 cm, National Gallery of Art, Washington, Florian Carr Fund, New Century Fund, and Nell and Robert Weidenhammer Fund, Photo: Courtesy National Gallery of Art
Rembrandt van Rijn, Diana and Her Nymphs Bathing, with the Stories of Actaeon and Callisto, 1634, oil on canvas, 73.5 × 93.5 cm, Bildersammlung der Fürsten zu Salm, Wasserburg Anholt, Isselburg Copyright: Wasserburg Anholt
Jacob van Loo, Diana and Her Nymphs, 1654, oil on canvas, 99.5 × 135.5 cm, National Gallery of Denmark, Copenhagen
Venus de’ Medici, 1rst century BCE, marble, 151 × 42 × 56 cm, Uffizi Galleries, Florence
Rembrandt van Rijn, Satire on Art Criticism, 1644, pen and ink, corrected with white, on laid paper, 15.5 × 20.1 cm, The Metropolitan Museum of Art, New York, Robert Lehman Collection, 1975, Photo: © The Metropolitan Museum of Art, image source: Art Resource, NY
