Seen
Not described yet.
Of
These are claims by the holder and by Wikidata, read 2026-09-04, and join nothing until an editor confirms them.
Means
No reading yet.
Rights
- Credit
- Rijksmuseum
- Licence
- Public Domain Mark 1.0
- Evidence
- data.rijksmuseum.nl Linked Art record https://id.rijksmuseum.nl/200106038: subject_to classified_as https://creativecommons.org/publicdomain/mark/1.0/ on image (VisualItem) (read 2026-08-27)
- Record
- https://www.rijksmuseum.nl/nl/collectie/object/SK-A-1935--d27d7ce1f58c87131f14425799c2d0a4
- IIIF
- manifest

Also by Rembrandt van Rijn
16







Within fifty years of c. 1638
1053




![Erster [- zehender] Theil der Bücher und Schrifften des edlen, hochgelehrten und bewehrten philosophi und medici Philippi Theophrasti Bombast von Hohenheim ... / [Erster bis sechster Theil.], Unknown](https://library.wrkhrs.co/artwork/erara-7694-v2040156.jpg)
![Erster [- zehender] Theil der Bücher und Schrifften des edlen, hochgelehrten und bewehrten philosophi und medici Philippi Theophrasti Bombast von Hohenheim ... / [Siebender bis zehender Theil.], Unknown](https://library.wrkhrs.co/artwork/erara-7694-v2042289.jpg)

Similar picturesFound by visual likeness
8 picturesVisual resemblances suggested by the model. A match does not establish a shared subject or historical connection.








In the stacks
Not yet checked2Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.
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
0.69PAINTING 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