1606-1669 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 van rijn :. | David Playing the Harp before Saul | Details of the Blinding of Samson | The eyes-fount of fascination and taboo | Judas returning the thirty silver pieces. | Details of The polish rider |
Related Artists:
Charles Harold Davis
1856-1933 He was born at Amesbury, Massachusetts. A pupil of the schools of the Boston Museum of Fine Arts, he was sent to Paris in 1880. Having studied at the Acad??mie Julian under Jules Joseph Lefebvre and Gustave Boulanger, he went to Barbizon and painted much in the forest of Fontainebleau under the traditions of the men of thirty. In 1890, Davis returned to the U.S., settling in Mystic, Connecticut. He shifted to Impressionism in his style, and took up the cloudscapes for which he became best-known. He eventually became a leading figure in the art colony that had developed in Mystic, and founded the Mystic Art Association in 1913. He became a full member of the National Academy of Design in 1906, and received many awards, including a silver medal at the Paris Exhibition of 1889. He is represented by important works in the Metropolitan Museum of Art, New York; the Corcoran Gallery of Art, Washington; the Pennsylvania Academy, Philadelphia, and the Boston Museum of Fine Arts.
Walter H.Everett
Story illustration . American , 1880-1946
Juan Gris
1887-1927 Born in Madrid, he studied mechanical drawing at the Escuela de Artes y Manufacturas in Madrid from 1902 to 1904, during which time he contributed drawings to local periodicals. From 1904 to 1905 he studied painting with the academic artist Jose Maria Carbonero. In 1906 he moved to Paris and became friends with Henri Matisse, Georges Braque, Fernand Leger, and in 1915 he was painted by his friend, Amedeo Modigliani. In Paris, Gris followed the lead of another friend and fellow countryman, Pablo Picasso. His portrait of Picasso in 1912 is a significant early Cubist painting done by a painter other than Picasso or Georges Braque. (Although he regarded Picasso as a teacher, Gertrude Stein acknowledged that Gris "was the one person that Picasso would have willingly wiped off the map.") Portrait of Picasso, 1912, The Art Institute of Chicago.Although he submitted darkly humorous illustrations to journals such as Le Rire, L'assiette au beurre, Le Charivari, and Le Cri de Paris, Gris began to paint seriously in 1910. By 1912 he had developed a personal Cubist style. At first Gris painted in the analytic style of Cubism, but after 1913 he began his conversion to synthetic Cubism, of which he became a steadfast interpreter, with extensive use of papier coll??. Unlike Picasso and Braque, whose Cubist works were monochromatic, Gris painted with bright harmonious colors in daring, novel combinations in the manner of his friend Matisse. In 1924, he first designed ballet sets and costumes for Sergei Diaghilev and the famous Ballets Russes. Gris articulated most of his aesthetic theories during 1924 and 1925. He delivered his definitive lecture, Des possibilit??s de la peinture, at the Sorbonne in 1924. Major Gris exhibitions took place at the Galerie Simon in Paris and the Galerie Flechtheim in Berlin in 1923, and at the Galerie Flechtheim in D??sseldorf in 1925. He died in Boulogne-sur-Seine (Paris) in the spring of 1927 at the age of forty, leaving a wife, Josette, and a son, Georges.