Bust of a Man in Oriental Dress, Rembrandt van Rijn

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These are claims by the holder and by Wikidata, read 2026-09-04, and join nothing until an editor confirms them.

Iconclass
31A2422head turned to the right31A534beard31A2211face61B(+52)31D16old man32B33Asian peoples, Asians41D221(TURBAN)

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Rights

Credit
Rijksmuseum
Licence
Public Domain Mark 1.0
Evidence
data.rijksmuseum.nl Linked Art record https://id.rijksmuseum.nl/200107930: 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-3340--7aaadc1f26ec652044aa6e1150576fd6
IIIF
manifest
Bust of a Man in Oriental Dress, Rembrandt van Rijn
Bust of a Man in Oriental Dress — Rembrandt van Rijn1635

Also by Rembrandt van Rijn

16
Old Man with a Gold Chain, Rembrandt van Rijn
Old Man with a Gold ChainRembrandt van Rijn1631The Art Institute of Chicago
Adam and Eve, Rembrandt van Rijn
Adam and EveRembrandt van Rijn1638The Art Institute of Chicago
Landscape with Stone Bridge, Rembrandt van Rijn
Landscape with Stone BridgeRembrandt van Rijnc. 1638Rijksmuseum
Still Life with Dead Peacocks, Rembrandt van Rijn
Still Life with Dead PeacocksRembrandt van Rijnc. 1639Rijksmuseum
Three Oriental Figures (Jacob and Laban?), Rembrandt van Rijn
Three Oriental Figures (Jacob and Laban?)Rembrandt van Rijn1641The Art Institute of Chicago
Officers and other civic guardsmen of District II in Amsterdam, under the command of Captain Frans Banninck Cocq and Lieutenant Willem van Ruytenburch, known as ‘The Night Watch’, Rembrandt van Rijn
Officers and other civic guardsmen of District II in Amsterdam, under the command of Captain Frans Banninck Cocq and Lieutenant Willem van Ruytenburch, known as ‘The Night Watch’Rembrandt van Rijn1642Rijksmuseum
Abraham and Isaac, Rembrandt van Rijn
Abraham and IsaacRembrandt van Rijn1645The Art Institute of Chicago
Kostverloren Castle in Decay, Rembrandt van Rijn
Kostverloren Castle in DecayRembrandt van Rijnc. 1652The Art Institute of Chicago

Within fifty years of 1635

1050
The Sacrifice of Isaac, Paolo Veronese
The Sacrifice of IsaacPaolo Veronese1585Museo del Prado
Kichik Beg Wounded during Babur's Attack on Qalat, from a copy of the Baburnama (Book of Babur), Mughal
Kichik Beg Wounded during Babur's Attack on Qalat, from a copy of the Baburnama (Book of Babur)Mughalc. 1590The Art Institute of Chicago
Lovers parting, page from a book of fables, Unknown
Lovers parting, page from a book of fablesUnknownc. 1590–95Cleveland Museum of Art
Calligraphy: Preface to the Anvar-i Suhaili, Unknown
Calligraphy: Preface to the Anvar-i SuhailiUnknownc. 1590Cleveland Museum of Art
Adoration of the Magi, Maarten de Vos (Flemish, 1532–1603)
Adoration of the MagiMaarten de Vos (Flemish, 1532–1603)c. 1590Cleveland Museum of Art
Somniorum synesiorum omnis generis insomnia explicantes, libri IIII : quibus accedunt, eiusdem haec etiam De libris propriis ... ; De curationibus et praedictionibus admirandis ; Neronis encomium ; Geometriae encomium, Cardano, Girolamo
Somniorum synesiorum omnis generis insomnia explicantes, libri IIII : quibus accedunt, eiusdem haec etiam De libris propriis ... ; De curationibus et praedictionibus admirandis ; Neronis encomium ; Geometriae encomiumCardano, Girolamo1585Stiftung der Werke von C.G.Jung, Zürich
Sculptura in Aes, The Workshop of an Engraver, Jan van der Straet, called Johannes Stradanus (Netherlandish, active Italy, 1523–1605); Philip Galle (Flemish, 1537–1612); Philip Galle (Flemish, 1537–1612)
Sculptura in Aes, The Workshop of an EngraverJan van der Straet, called Johannes Stradanus (Netherlandish, active Italy, 1523–1605); Philip Galle (Flemish, 1537–1612); Philip Galle (Flemish, 1537–1612)c. 1591Cleveland Museum of Art
The Sacrifice of Isaac, Paolo Veronese
The Sacrifice of IsaacPaolo Veronese1588Kunsthistorisches Museum

In the stacks

Not yet checked2

Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

  1. 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

  2. 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

Next

Rembrandt van Rijn made Bust of a Man in Oriental Dress, and made these too.

Made in the seventeenth century, like Bust of a Man in Oriental Dress.

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