GCB Kunstlexikon
REMBRANDT HARMENSZOON VAN RIJN
Beitrag in Bearbeitung!
KUNSTWERKE rembrandt van rijn
100 Meisterwerke | Großes Selbstbildnis | Rembrandt van Rijn | Kunsthistorisches Museum Wien | https://www.khm.at/ | Das Kunsthistorische Museum und ORF III präsentieren mit der neuen TV-Reihe „100 Meisterwerke“ eine zeitgemäße österreichische Neuauflage des Fernsehklassikers aus den 1980er und 1990er Jahren. Generaldirektorin Sabine Haag und Schriftsteller Michael Köhlmeier stellen darin ab 7. März 2016 – Montag bis Freitag um 19.45 Uhr in ORF III – die einzigartigen Schätze des Kunsthistorischen Museums vor. Den Auftakt zur ersten Staffel mit 50 fünf-minütigen Kurzfolgen bildet Benvenuto Cellinis „Saliera“. Expertinnen und Experten des Hauses haben aus den Sammlungen des Kunsthistorischen Museums „100 Meisterwerke“ ausgesucht. Mit ihrem Fachwissen vermitteln sie dem Fernsehpublikum auf anregende Weise die besondere Bedeutung des jeweils im Zentrum einer Ausgabe stehenden Kunstobjekts, darunter berühmte Exponate wie die Reichskrone aus der Schatzkammer, Caravaggios „Rosenkranzmadonna“, Rubens’ „Das Pelzchen“, Giuseppe Arcimboldos „Allegorie auf den Winter“ aus der Gemäldegalerie, der Imperialwagen aus der Kaiserlichen Wagenburg oder Johann Baptist Streichers Hammerflügel aus der Sammlung alter Musikinstrumente. „100 Meisterwerke“ ist eine Kooperation von ORF III Kultur und Information, dem Kunsthistorischen Museum und Clever Contents, hergestellt mit Unterstützung von UNIQA | YouTube
Why This Is Rembrandt’s Masterpiece | Nerdwriter1 | YouTube
Rembrandt van Rijn | A collection of 546 paintings | LearnFromMasters
Description: „Rembrandt van Rijn, in full Rembrandt Harmenszoon van Rijn, Rembrandt originally spelled Rembrant (born July 15, 1606, Leiden, Netherlands—died October 4, 1669, Amsterdam) Dutch Baroque painter and printmaker, one of the greatest storytellers in the history of art, possessing an exceptional ability to render people in their various moods and dramatic guises. Rembrandt is also known as a painter of light and shade and as an artist who favoured an uncompromising realism that would lead some critics to claim that he preferred ugliness to beauty. Early in his career and for some time, Rembrandt painted mainly portraits. Although he continued to paint—and etch and, occasionally, draw—portraits throughout his career, he did so less frequently over time. Roughly one-tenth of his painted and etched oeuvre consists of studies of his own face as well as more-formal self-portraits, a fact that has led to much speculation. The core of Rembrandt’s oeuvre, however, consists of biblical and—to a much lesser extent—historical, mythological, and allegorical “history pieces,” all of which he painted, etched, or sketched in pen and ink or chalk. Seen over his whole career, the changes in Rembrandt’s style are remarkable. His approach to composition and his rendering of space and light—like his handling of contour, form, and colour, his brushwork, and (in his drawings and etchings) his treatment of line and tone—are subject to gradual (or sometimes abrupt) transformation, even within a single work. The painting known as Night Watch (1640/42) was clearly a turning point in his stylistic development. These changes are not the result of an involuntary evolution; rather they should be seen as documenting a conscious search in pictorial and narrative respects, sometimes in discussion, as it were, with his great predecessors. Rembrandt quickly achieved renown among Dutch art lovers and an art-buying public for his history paintings and etchings, as well as his portraits and self-portraits. His unusual etchings brought him international fame during his lifetime, and his drawings, which in fact were done as practice exercises or as studies for other works, were also collected by contemporary art lovers. According to the myth that evolved after his death, Rembrandt died poor and misunderstood. It is true that by the end of his life his realism had been supplanted by Classicism and had become unfashionable in Holland. Nevertheless, his international reputation among connoisseurs and collectors only continued to rise. Certain artists in 18th-century Germany and Venice even adopted his style. He was venerated during the Romantic era and was considered a forerunner of the Romantic movement; from that point he was regarded as one of the greatest figures in art history. In the Netherlands itself, his fortunes have once again risen, and he has become a symbol of both greatness and Dutch-ness.“ | YouTube
Rembrandt van Rijn | The power of his self portraits | The National Gallery | https://www.nationalgallery.org.uk/ | Freelance lecturer James Heard talks you through Rembrandt’s illustrious and prolific career, from the successes of his early years in Amsterdam, to his later bankruptcy and the power of his self-portraits | YouTube
VIDEO / FILM rembrandt van rijn
BIOGRAFIE REMBRANDT VAN RIJN
GEBURTSJAHR | GEBURTSORT | TODESJAHR | STERBEORT
AUSBILDUNG REMBRANDT VAN RIJN
LEHRTÄTIGKEIT REMBRANDT VAN RIJN
MITGLIEDSCHAFTEN REMBRANDT VAN RIJN
AUSZEICHNUNGEN REMBRANDT VAN RIJN
SAMMLUNGEN REMBRANDT VAN RIJN
AUSSTELLUNGEN REMBRANDT VAN RIJN
EINZELAUSSTELLUNGEN
GRUPPENAUSSTELLUNGEN
PROJEKTE / SYMPOSIEN
WERKBESCHREIBUNG REMBRANDT VAN RIJN
SCHWERPUNKTE | MEDIEN
Malerei | Zeichnung, Radierung
STIL
THEMEN | MOTIVE | WERKE
Die Nachtwache | 1642 | Rijksmuseum Amsterdam | ist das berühmteste Gemälde der Niederlande und eines der berühmtesten Gemälde der Welt | Rembrandt van Rijn war der erste Maler, der eine demokratische Gruppe malte | das Gemälde verkörpert den Stolz der Nation
DEFINITION | BESCHREIBUNG | MERKMALE
besondere, moderne Lichtführung | detailliert | mysteriös | außerordentlich gute Reflektion von menschlichen Charakteren |
STICHWORTE REMBRAND VAN RIJN
Holland war zu Zeiten Rembrandt’s eine Nation mit globalen Ansprüchen
ZITATE REMBRANDT VAN RIJN
TEXT / BIBLIOGRAPHIE REMBRANDT VAN RIJN
LINKS REMBRANDT VAN RIJN
REMBRANDT HARMENSZOON VAN RIJN
Beitrag in Bearbeitung!
KUNSTWERKE rembrandt van rijn
100 Meisterwerke | Großes Selbstbildnis | Rembrandt van Rijn | Kunsthistorisches Museum Wien | https://www.khm.at/ | Das Kunsthistorische Museum und ORF III präsentieren mit der neuen TV-Reihe „100 Meisterwerke“ eine zeitgemäße österreichische Neuauflage des Fernsehklassikers aus den 1980er und 1990er Jahren. Generaldirektorin Sabine Haag und Schriftsteller Michael Köhlmeier stellen darin ab 7. März 2016 – Montag bis Freitag um 19.45 Uhr in ORF III – die einzigartigen Schätze des Kunsthistorischen Museums vor. Den Auftakt zur ersten Staffel mit 50 fünf-minütigen Kurzfolgen bildet Benvenuto Cellinis „Saliera“. Expertinnen und Experten des Hauses haben aus den Sammlungen des Kunsthistorischen Museums „100 Meisterwerke“ ausgesucht. Mit ihrem Fachwissen vermitteln sie dem Fernsehpublikum auf anregende Weise die besondere Bedeutung des jeweils im Zentrum einer Ausgabe stehenden Kunstobjekts, darunter berühmte Exponate wie die Reichskrone aus der Schatzkammer, Caravaggios „Rosenkranzmadonna“, Rubens’ „Das Pelzchen“, Giuseppe Arcimboldos „Allegorie auf den Winter“ aus der Gemäldegalerie, der Imperialwagen aus der Kaiserlichen Wagenburg oder Johann Baptist Streichers Hammerflügel aus der Sammlung alter Musikinstrumente. „100 Meisterwerke“ ist eine Kooperation von ORF III Kultur und Information, dem Kunsthistorischen Museum und Clever Contents, hergestellt mit Unterstützung von UNIQA | YouTube
Why This Is Rembrandt’s Masterpiece | Nerdwriter1 | YouTube
Rembrandt van Rijn | A collection of 546 paintings | LearnFromMasters
Description: „Rembrandt van Rijn, in full Rembrandt Harmenszoon van Rijn, Rembrandt originally spelled Rembrant (born July 15, 1606, Leiden, Netherlands—died October 4, 1669, Amsterdam) Dutch Baroque painter and printmaker, one of the greatest storytellers in the history of art, possessing an exceptional ability to render people in their various moods and dramatic guises. Rembrandt is also known as a painter of light and shade and as an artist who favoured an uncompromising realism that would lead some critics to claim that he preferred ugliness to beauty. Early in his career and for some time, Rembrandt painted mainly portraits. Although he continued to paint—and etch and, occasionally, draw—portraits throughout his career, he did so less frequently over time. Roughly one-tenth of his painted and etched oeuvre consists of studies of his own face as well as more-formal self-portraits, a fact that has led to much speculation. The core of Rembrandt’s oeuvre, however, consists of biblical and—to a much lesser extent—historical, mythological, and allegorical “history pieces,” all of which he painted, etched, or sketched in pen and ink or chalk. Seen over his whole career, the changes in Rembrandt’s style are remarkable. His approach to composition and his rendering of space and light—like his handling of contour, form, and colour, his brushwork, and (in his drawings and etchings) his treatment of line and tone—are subject to gradual (or sometimes abrupt) transformation, even within a single work. The painting known as Night Watch (1640/42) was clearly a turning point in his stylistic development. These changes are not the result of an involuntary evolution; rather they should be seen as documenting a conscious search in pictorial and narrative respects, sometimes in discussion, as it were, with his great predecessors. Rembrandt quickly achieved renown among Dutch art lovers and an art-buying public for his history paintings and etchings, as well as his portraits and self-portraits. His unusual etchings brought him international fame during his lifetime, and his drawings, which in fact were done as practice exercises or as studies for other works, were also collected by contemporary art lovers. According to the myth that evolved after his death, Rembrandt died poor and misunderstood. It is true that by the end of his life his realism had been supplanted by Classicism and had become unfashionable in Holland. Nevertheless, his international reputation among connoisseurs and collectors only continued to rise. Certain artists in 18th-century Germany and Venice even adopted his style. He was venerated during the Romantic era and was considered a forerunner of the Romantic movement; from that point he was regarded as one of the greatest figures in art history. In the Netherlands itself, his fortunes have once again risen, and he has become a symbol of both greatness and Dutch-ness.“ | YouTube
Rembrandt van Rijn | The power of his self portraits | The National Gallery | https://www.nationalgallery.org.uk/ | Freelance lecturer James Heard talks you through Rembrandt’s illustrious and prolific career, from the successes of his early years in Amsterdam, to his later bankruptcy and the power of his self-portraits | YouTube
VIDEO / FILM rembrandt van rijn
BIOGRAFIE REMBRANDT VAN RIJN
GEBURTSJAHR | GEBURTSORT | TODESJAHR | STERBEORT
AUSBILDUNG REMBRANDT VAN RIJN
LEHRTÄTIGKEIT REMBRANDT VAN RIJN
MITGLIEDSCHAFTEN REMBRANDT VAN RIJN
AUSZEICHNUNGEN REMBRANDT VAN RIJN
SAMMLUNGEN REMBRANDT VAN RIJN
AUSSTELLUNGEN REMBRANDT VAN RIJN
EINZELAUSSTELLUNGEN
GRUPPENAUSSTELLUNGEN
PROJEKTE / SYMPOSIEN
WERKBESCHREIBUNG REMBRANDT VAN RIJN
SCHWERPUNKTE | MEDIEN
Malerei | Zeichnung, Radierung
STIL
THEMEN | MOTIVE | WERKE
Die Nachtwache | 1642 | Rijksmuseum Amsterdam | ist das berühmteste Gemälde der Niederlande und eines der berühmtesten Gemälde der Welt | Rembrandt van Rijn war der erste Maler, der eine demokratische Gruppe malte | das Gemälde verkörpert den Stolz der Nation
DEFINITION | BESCHREIBUNG | MERKMALE
besondere, moderne Lichtführung | detailliert | mysteriös | außerordentlich gute Reflektion von menschlichen Charakteren |
STICHWORTE REMBRAND VAN RIJN
Holland war zu Zeiten Rembrandt’s eine Nation mit globalen Ansprüchen
ZITATE REMBRANDT VAN RIJN
TEXT / BIBLIOGRAPHIE REMBRANDT VAN RIJN
LINKS REMBRANDT VAN RIJN
REMBRANDT HARMENSZOON VAN RIJN
Beitrag in Bearbeitung!
KUNSTWERKE rembrandt van rijn
100 Meisterwerke | Großes Selbstbildnis | Rembrandt van Rijn | Kunsthistorisches Museum Wien | https://www.khm.at/ | Das Kunsthistorische Museum und ORF III präsentieren mit der neuen TV-Reihe „100 Meisterwerke“ eine zeitgemäße österreichische Neuauflage des Fernsehklassikers aus den 1980er und 1990er Jahren. Generaldirektorin Sabine Haag und Schriftsteller Michael Köhlmeier stellen darin ab 7. März 2016 – Montag bis Freitag um 19.45 Uhr in ORF III – die einzigartigen Schätze des Kunsthistorischen Museums vor. Den Auftakt zur ersten Staffel mit 50 fünf-minütigen Kurzfolgen bildet Benvenuto Cellinis „Saliera“. Expertinnen und Experten des Hauses haben aus den Sammlungen des Kunsthistorischen Museums „100 Meisterwerke“ ausgesucht. Mit ihrem Fachwissen vermitteln sie dem Fernsehpublikum auf anregende Weise die besondere Bedeutung des jeweils im Zentrum einer Ausgabe stehenden Kunstobjekts, darunter berühmte Exponate wie die Reichskrone aus der Schatzkammer, Caravaggios „Rosenkranzmadonna“, Rubens’ „Das Pelzchen“, Giuseppe Arcimboldos „Allegorie auf den Winter“ aus der Gemäldegalerie, der Imperialwagen aus der Kaiserlichen Wagenburg oder Johann Baptist Streichers Hammerflügel aus der Sammlung alter Musikinstrumente. „100 Meisterwerke“ ist eine Kooperation von ORF III Kultur und Information, dem Kunsthistorischen Museum und Clever Contents, hergestellt mit Unterstützung von UNIQA | YouTube
Why This Is Rembrandt’s Masterpiece | Nerdwriter1 | YouTube
Rembrandt van Rijn | A collection of 546 paintings | LearnFromMasters
Description: „Rembrandt van Rijn, in full Rembrandt Harmenszoon van Rijn, Rembrandt originally spelled Rembrant (born July 15, 1606, Leiden, Netherlands—died October 4, 1669, Amsterdam) Dutch Baroque painter and printmaker, one of the greatest storytellers in the history of art, possessing an exceptional ability to render people in their various moods and dramatic guises. Rembrandt is also known as a painter of light and shade and as an artist who favoured an uncompromising realism that would lead some critics to claim that he preferred ugliness to beauty. Early in his career and for some time, Rembrandt painted mainly portraits. Although he continued to paint—and etch and, occasionally, draw—portraits throughout his career, he did so less frequently over time. Roughly one-tenth of his painted and etched oeuvre consists of studies of his own face as well as more-formal self-portraits, a fact that has led to much speculation. The core of Rembrandt’s oeuvre, however, consists of biblical and—to a much lesser extent—historical, mythological, and allegorical “history pieces,” all of which he painted, etched, or sketched in pen and ink or chalk. Seen over his whole career, the changes in Rembrandt’s style are remarkable. His approach to composition and his rendering of space and light—like his handling of contour, form, and colour, his brushwork, and (in his drawings and etchings) his treatment of line and tone—are subject to gradual (or sometimes abrupt) transformation, even within a single work. The painting known as Night Watch (1640/42) was clearly a turning point in his stylistic development. These changes are not the result of an involuntary evolution; rather they should be seen as documenting a conscious search in pictorial and narrative respects, sometimes in discussion, as it were, with his great predecessors. Rembrandt quickly achieved renown among Dutch art lovers and an art-buying public for his history paintings and etchings, as well as his portraits and self-portraits. His unusual etchings brought him international fame during his lifetime, and his drawings, which in fact were done as practice exercises or as studies for other works, were also collected by contemporary art lovers. According to the myth that evolved after his death, Rembrandt died poor and misunderstood. It is true that by the end of his life his realism had been supplanted by Classicism and had become unfashionable in Holland. Nevertheless, his international reputation among connoisseurs and collectors only continued to rise. Certain artists in 18th-century Germany and Venice even adopted his style. He was venerated during the Romantic era and was considered a forerunner of the Romantic movement; from that point he was regarded as one of the greatest figures in art history. In the Netherlands itself, his fortunes have once again risen, and he has become a symbol of both greatness and Dutch-ness.“ | YouTube
Rembrandt van Rijn | The power of his self portraits | The National Gallery | https://www.nationalgallery.org.uk/ | Freelance lecturer James Heard talks you through Rembrandt’s illustrious and prolific career, from the successes of his early years in Amsterdam, to his later bankruptcy and the power of his self-portraits | YouTube
VIDEO / FILM rembrandt van rijn
BIOGRAFIE REMBRANDT VAN RIJN
GEBURTSJAHR | GEBURTSORT | TODESJAHR | STERBEORT
AUSBILDUNG REMBRANDT VAN RIJN
LEHRTÄTIGKEIT REMBRANDT VAN RIJN
MITGLIEDSCHAFTEN REMBRANDT VAN RIJN
AUSZEICHNUNGEN REMBRANDT VAN RIJN
SAMMLUNGEN REMBRANDT VAN RIJN
AUSSTELLUNGEN REMBRANDT VAN RIJN
EINZELAUSSTELLUNGEN
GRUPPENAUSSTELLUNGEN
PROJEKTE / SYMPOSIEN
WERKBESCHREIBUNG REMBRANDT VAN RIJN
SCHWERPUNKTE | MEDIEN
Malerei | Zeichnung, Radierung
STIL
THEMEN | MOTIVE | WERKE
Die Nachtwache | 1642 | Rijksmuseum Amsterdam | ist das berühmteste Gemälde der Niederlande und eines der berühmtesten Gemälde der Welt | Rembrandt van Rijn war der erste Maler, der eine demokratische Gruppe malte | das Gemälde verkörpert den Stolz der Nation
DEFINITION | BESCHREIBUNG | MERKMALE
besondere, moderne Lichtführung | detailliert | mysteriös | außerordentlich gute Reflektion von menschlichen Charakteren |
STICHWORTE REMBRAND VAN RIJN
Holland war zu Zeiten Rembrandt’s eine Nation mit globalen Ansprüchen
ZITATE REMBRANDT VAN RIJN
TEXT / BIBLIOGRAPHIE REMBRANDT VAN RIJN
LINKS REMBRANDT VAN RIJN
