Date 1644 Artist's movement Dutch Golden Age painting Medium Pen and inks ranging from light to dark brown, brown washes, corrected in white (oxidized, partially abraded), and touches of red chalk (in added structures to the left of the main cottage). Terms pen 300022452 oxidized 300220235 Dimensions 11 3/4 x 17 15/16 in. (29.9 x 45.5 cm) Collection Metropolitan Museum of Art, New York, NY 1975.1.792 Classifications read from Wikidata, 2026-08-28
Getty ids beside the museum's words, by exact match, 2026-09-09
Close Cottage near the Entrance to a Wood — Rembrandt (Rembrandt van Rijn) 1644
Also by Rembrandt (Rembrandt van Rijn) 8 Portrait of a Young Woman with a Fan Rembrandt (Rembrandt van Rijn)1633 Metropolitan Museum of Art, New York, NY The Last Supper, after Leonardo da Vinci Rembrandt (Rembrandt van Rijn)1634–35 Metropolitan Museum of Art, New York, NY Herman Doomer (ca. 1595–1650) Rembrandt (Rembrandt van Rijn)1640 Metropolitan Museum of Art, New York, NY The Toilet of Bathsheba Rembrandt (Rembrandt van Rijn)1643 Metropolitan Museum of Art, New York, NY Cottage among Trees Rembrandt (Rembrandt van Rijn)ca. 1650 Metropolitan Museum of Art, New York, NY Flora Rembrandt (Rembrandt van Rijn)ca. 1654 Metropolitan Museum of Art, New York, NY Aristotle with a Bust of Homer Rembrandt (Rembrandt van Rijn)1653 Metropolitan Museum of Art, New York, NY Reclining Female Nude Rembrandt (Rembrandt van Rijn)1658 Metropolitan Museum of Art, New York, NY
Within fifty years of 1644 1047 Bacchanal Nicolas Poussinca. 1635–36 Metropolitan Museum of Art, New York, NY Figures Bathing in a Stream Attributed to Nicolas Poussin National Gallery of Art Female Roman Statue Seen from the Back Attributed to Nicolas Poussin National Gallery of Art Reverendi P. Petri Thyraei ... De daemoniacis liber unus in quo daemonum obsidentium conditio; obsessorum hominum status ... explicantur ... Thyraeus, Petrus1594 Stiftung der Werke von C.G.Jung, Zürich Reverendi P. Petri Thyraei ... De variis tam spirituum quam vivorum hominum prodigiosis apparitionibus, et nocturnis infestationibus libri tres ... Thyraeus, Petrus1594 Stiftung der Werke von C.G.Jung, Zürich Watch in the form of a Lesser George Nicholas Vallinca. 1600 Metropolitan Museum of Art, New York, NY Miniature collector's cabinet Bernard Salomonca. 1600 Metropolitan Museum of Art, New York, NY Valance with The Story of Moses Bernard Salomonca. 1600 Metropolitan Museum of Art, New York, NY
Also at Metropolitan Museum of Art, New York, NY 673 Marble female figure Bastis Master2600–2400 BCE Metropolitan Museum of Art, New York, NY Relief Fragment with a Ship Under Sail Unknownca. 2465–2458 BCE Metropolitan Museum of Art, New York, NY Tomb Chapel of Raemkai: South Wall Unknownca. 2446–2389 BCE Metropolitan Museum of Art, New York, NY West wall of the chapel of the mastaba Kaemsenu with niches for Iretnub, Kaemsenu and Werdjedptah Unknownca. 2420–2250 BCE Metropolitan Museum of Art, New York, NY Design amulet, Cow and Calf on the Back, Device showing Antithetical Falcons Flanking an Ankh Sign over a Crouching Lion Unknownca. 2150–2100 B.C. Metropolitan Museum of Art, New York, NY Design Amulet, Pyramidal Back with Horizontal Piercing, Device showing Two Falcons Flanking what is meant to be an Ankh Sign Unknownca. 2150–2010 B.C. Metropolitan Museum of Art, New York, NY Design Amulet, Cow Nursing Calf and also a Kneeling Suckling Man Visible on Opposite Side on the Back, Device showing Antithetical Falcons with an Ankh Sign over a Lion Unknownca. 2150–2100 B.C. Metropolitan Museum of Art, New York, NY Design Amulet, Back in the Form of a Woman Suckling a Child, Device showing Two Lizards Head-to-tail Unknownca. 2100–2080 B.C. Metropolitan Museum of Art, New York, NY In the stacks Not yet checked 2
Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.
Seven Discourses on Art · Joshua, Sir Reynolds
By this mode of reasoning Rembrandt has a higher place than Raffaelle. But a very little reflection will serve to show us that these particularities cannot be nature: for how can that be the nature of man, in which no two individuals are the same? It plainly appears that as a work is conducted under the influence of general ideas or partial it is principally to be considered as the effect of a good or a bad taste. As beauty therefore does not consist in taking what lies immediately before … 0.69 principles of art history · heinrich wolfflin
PAINTING 95 Rembrandt The great Ecce Homo (etching of 1650) is an analogous case. As is known, the schema of the composition dates back to a Cinquecentist, Lucas van Leyden. A house wall and a terrace before it, seen frontally; people who have taken up their stand side by side in rows on and in front of the terrace—how are we to get a baroque picture out of all that? We learn with Rembrandt that it is not the subject but the treatment which matters. While Lucas van Leyden exhausts … 0.68 Add a connection Propose a reading
Next Made in the seventeenth century, like Cottage near the Entrance to a Wood.
