Born in Leiden to a miller’s family, Rembrandt trained briefly with Pieter Lastman in Amsterdam before establishing himself in that city in 1631. His 1634 marriage to Saskia van Uylenburgh, cousin of a prominent art dealer, opened doors to wealthy patrons, and for two decades he ran a busy workshop producing portraits, biblical scenes and self-portraits distinguished by dramatic light and increasingly loose, expressive brushwork.
An extravagant lifestyle and a taste for collecting art beyond his means caught up with him: he declared bankruptcy in 1656, and his house, paintings and collection were sold off. He kept working regardless, producing some of his most searching late paintings — including The Jewish Bride — in his final years. He died in Amsterdam in 1669.
Rembrandt paintings on display, museum by museum
The Art Institute of Chicago
- Old Man with a Gold Chain — Gallery 213 (1631)
Cleveland Museum of Art
- A Young Man with a Chain — 213 Dutch Painting (c. 1629 or 1632)
- Portrait of a Woman — 213 Dutch Painting (1635 or earlier)
Dulwich Picture Gallery, London
- A Young Man, perhaps the Artist's Son Titus — Room 5 (c.1668)
- Girl at a Window — Room 5 (1645)
- Jacob de Gheyn III — Room 5 (1632)
Fitzwilliam Museum, Cambridge
- Portrait of a man in military costume — Gallery 15: Dutch Gallery (1650)
Musée Jacquemart-André
- Les Pèlerins d’Emmaüs — Bibliothèque (vers 1628)
The Louvre
- Autoportrait au chevalet et à l'appuie-main de peintre — Salle 844 (3e quart du XVIIe siècle (1660))
- Autoportrait à la toque et à la chaîne d'or — Salle 844 (2e quart du XVIIe siècle (1633))
- Autoportrait à la toque sur fond d'architecture — Salle 844 (Date d'élaboration/conception : (second stade: intervention d'une autre main) (vers 1640) Date de création/fabrication : 2e quart du XVIIe siècle (premier stade: travail original de Rembrandt) (1634 - 1635))
- Autoportrait, tête nue — Salle 844 (2e quart du XVIIe siècle (1633))
- Bethsabée au bain tenant la lettre du roi David — Salle 844 (Milieu du XVIIe siècle (1654))
- Château dominant une rivière — Salle 844 (Milieu du XVIIe siècle (1640 - 1650))
- L'Archange Raphaël quittant la famille de Tobie ou Tobie et sa famille prosternés devant l’ange — Salle 844 (2e quart du XVIIe siècle (1637))
- Le Boeuf écorché — Salle 844 (Milieu du XVIIe siècle (1655))
- Le Philosophe en contemplation, longtemps appelé aussi Philosophe en méditation (2e quart du XVIIe siècle (1632))
- Les Pèlerins d'Emmaüs — Salle 844 (2e quart du XVIIe siècle (1648))
- Paysage au château. Vue imaginaire — Salle 844 (2e quart du XVIIe siècle (1640 - 1642))
- Portrait de Hendrickje Stoffels (1625-1662) au béret de velours — Salle 844 (Milieu du XVIIe siècle (vers 1654))
- Portrait de Maerten Soolmans — Salle 844 (date de l'arrêté/décision : 25/01/2016)
- Portrait de Oopjen Coppit en costume à la française — Salle 844 (2e quart du XVIIe siècle (1634))
- Portrait de Titus (1641-1668), fils de l’artiste — Salle 844 (XVIIe siècle (vers 1662))
- Saint Matthieu et l'Ange — Salle 844 (3e quart du XVIIe siècle (1661))
- Vénus et l'Amour (3e quart du XVIIe siècle (travail d'élève ou de suiveur du maître, plutôt qu'original ou copie directe d'un tableau de Rembrandt disparu, peint vers 1660.) (après 1660))
The Metropolitan Museum of Art, New York
- Hendrickje Stoffels (1626–1663) — 964 (mid-1650s)
- Herman Doomer (ca. 1595–1650) — 964 (1640)
- Man in a Turban — 964 (1632)
- Man with a Magnifying Glass — 964 (early 1660s)
- Portrait of Gerard de Lairesse — 964 (1665–67)
- Portrait of a Man — 964 (1632)
- Portrait of a Man ("The Auctioneer") — 964 (probably ca. 1658–62)
- Portrait of a Woman — 964 (1633)
- Portrait of a Woman, probably a Member of the Van Beresteyn Family — 958 (1632)
- Self-Portrait — 964 (1660)
- The Standard Bearer (Floris Soop, 1604–1657) — 965 (1654)
- The Toilet of Bathsheba — 964 (1643)
- Woman with a Pink — 964 (early 1660s)
National Galleries of Scotland, Edinburgh
- A Woman in Bed (Sarah Awaiting Tobias) — National (On Display) (1647)
- Self-portrait — National (On Display) (165[5])
The National Gallery, London
- A Bearded Man in a Cap — Room 22 (Late 1650s)
- A Franciscan Friar — Room 22 (About 1655)
- A Woman bathing in a Stream (Hendrickje Stoffels?) — Room 22 (1654)
- An Elderly Man as Saint Paul — Room 22 (Probably 1659)
- Anna and the Blind Tobit — Room 22 (About 1630)
- Belshazzar — Room 22 (About 1636-8)
- Ecce Homo — Room 22 (1634)
- Portrait of Aechje Claesdr. — Room 22 (1634)
- Portrait of Hendrickje Stoffels — Room 22 (Probably 1654-6)
- Portrait of Jacob Trip — Room 22 (About 1661)
- Portrait of Jacob Trip — Room 22 (About 1661)
- Portrait of Margaretha de Geer, Wife of Jacob Trip — Room 22 (About 1661)
- Portrait of Philips Lucasz. — Room 22 (1635)
- Saskia van Uylenburgh in Arcadian Costume — Room 22 (1635)
- Self Portrait at the Age of 34 — Room 15 (1640)
- Self Portrait at the Age of 63 — Room 22 (1669)
- The Lamentation over the Dead Christ — Room 22 (About 1635)
- The Woman taken in Adultery — Room 22 (1644)
National Gallery of Art, Washington
- A Polish Nobleman — M-048 (1637)
- A Young Man Seated at a Table (possibly Govaert Flinck) — M-051 (c. 1660)
- An Old Lady with a Book — M-051 (1637)
- Lucretia — M-051 (1664)
- Man in Oriental Costume — M-048 (c. 1635)
- Philemon and Baucis — M-048 (1658)
- Portrait of a Gentleman with a Tall Hat and Gloves — M-048 (c. 1656/1658)
- Portrait of a Lady with an Ostrich-Feather Fan — M-048 (c. 1656/1658)
- Saskia van Uylenburgh, the Wife of the Artist — M-051 (probably begun 1634/1635 and completed 1638/1640)
- Self-Portrait — M-051 (1659)
- The Apostle Paul — M-048 (c. 1657)
- The Circumcision — M-048 (1661)
Petit Palais, Paris
- Portrait de l'artiste en costume oriental — Salle 26 (Entre 1631 et 1633)
Museo Thyssen-Bornemisza, Madrid
- Autorretrato con gorra y dos cadenas — Sala 27 (hacia 1642 - 1643)
The Uffizi Gallery, Florence
- Portrait of an old man (The Old Rabbi) — D34. Rembrandt - Rubens (1665)
Rooms and display status checked against each museum’s own collection database.
Listen to the commentary in the gallery
This list tells you where to look. In front of the actual painting, CulturAll adds the audio commentary: photograph the work or its label, listen, then ask your questions.
