Rembrandt Harmenszoon Van RIJN
1606–1669, Netherlands

Signature proven counterfeit
In 2004 a large-scale art forgery case was exposed during the Salvador Dali centenary exhibition at the Wanha Satama fair centre in Helsinki. The art dealer concerned had forged and sold hundred of Dali graphics as well as graphics of some other internationally known artists. Made by roughly glueing a picture cut from an art book to cardboard. A genuine Rembrandt would probably not be treated like that. The picture was for sale for 64.000 €.

Signature proven counterfeit
In 2004 a large-scale art forgery case was exposed during the Salvador Dali centenary exhibition at the Wanha Satama fair centre in Helsinki. The art dealer concerned had forged and sold hundred of Dali graphics as well as graphics of some other internationally known artists. Made by roughly glueing a picture cut from an art book to cardboard. A genuine Rembrandt would probably not be treated like that. The picture was for sale for 47.000 €.

Signature proven counterfeit
Oil on canvas, 45x34 cm, signed Rembrandt. The painting is not painted by Rembrandt. It is processed to look old. Crazing is not genuine. Microscopic examination shows that the canvas is probably from the 1930s. It is prepared on the back to look older. The painting is a plagiarism. It is varnished and treated with a kind of glue, resulting in cracking. It is bigger cracks than it would have been if it had been the case of normal crazing. A brown coating is then imposed, this has flowed into the cracks, then the coating has been wiped away. The painting is typical of what a private person, interested in Rembrandt, can do to get a painting to look old. The signature is painted with both black and white to get a little body. Rembrandt never did so. The painting is not constructed from below, as it normally should have been. Looking at a 1600-century painting, one can see the transparency that is not in this painting. Rembrandt did religious paintings only after the Old Testament. If he took any design from the New Testament, he did so as etching. The subject of this painting, "Veronika napkin", is from the New Testament.


Signature considered genuine

Signature considered genuine

Signature considered genuine

Signature considered genuine

Signature considered genuine

Signature considered genuine

Signature considered genuine

Signature considered genuine

Signature considered genuine
Rembrandt Harmenszoon van Rijn was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art history and the most important in Dutch history. His contributions to art came in a period that historians call the Dutch Golden Age.Having achieved youthful success as a portrait painter, his later years were marked by personal tragedy and financial hardships. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high and for twenty years he taught nearly every important Dutch painter. Rembrandt\'s greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and with the utmost sincerity.In both painting and printmaking he exhibited a complete knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt\'s knowledge of the specific text, his assimilation of classical composition, and his observations of Amsterdam\'s Jewish population. Because of his empathy for the human condition, he has been called \"one of the great prophets of civilization....
Source: From Wikipedia, the free encyclopedia
Rembrandt Harmensz van Rijn föddes troligen 1606 i Leyden, Holland. Han var son till en mjölnare och växte upp under goda förhållanden. Fader mjölnare lät kosta på sin sjätte son en god utbildning och som 14-åring skrevs han in på Humanistiska fakulteten vid Leydens Universitet. Rembrandt hoppade av studierna efter ett år och sökte sig i stället till konstnären Jacob Van Swanenburgs ateljé. Efter bara några år grundade han tillsammans med konstnärskollegan Jan Lievens en egen ateljé. Under denna period var den holländska nationen på frammarsch och affärerna blomstrade precis som konstlivet. Det sägs ibland att det var i just detta land, i detta skede som den "moderna konstmarknaden" uppstod och i detta historiska sammelsurium framträder Rembrandt än som hyllad mästare än som avdankad föredetting. Rembrandts liv var mycket dramatiskt, ond bråd död präglade hans tillvaro, den avhållna hustrun Saskia van Uelynburch dör efter några få års äktenskap, 3 av hans barn dör i mycket späd ålder, endast en son, Titus, uppnår vuxen ålder. Rembrandt återvänder alltid till Leyden men kommer att tillbringa långa perioder i Amsterdam där han kommer i kontakt med andra konstnärliga influenser, inte minst via italienska konstnärskollegor. Framgångarna på den understundom turbulenta konstmarknaden varierade. Ibland fick Rembrandt stor uppmärksamhet och goda inkomster, ibland ratades hans konst totalt. Rembrandt fick erfara att beställare kunde vara mycket nyckfulla. Rembrandts måleri kan nästan karaktäriseras som magiskt - det typiska är ett mörker så intensivt att den enda ljuspunkten framträder i ett fantastiskt lyster. Detta sätt att måla kallas claire-obscure/chiaro-scuro - alltså ljus/mörker och är ett konstnärligt maner under 1600-talet (jfr Caravaggios måleri!) Tidens starka känslor för kontraster skugga-ljus, död-liv, glädje-sorg kommer till sina yppersta uttryck i Rembrandts innerliga måleri. Hans motivkrets varierar, hustrun Saskia är ett kärt motiv under 1630-talet, de bibliska berättelserna är ett annat tema hos Rembrandt och naturligtvis alla de förnäma självporträtt som konstnären utför från tidiga år till sena ålderdomen. Rembrandt var därtill en mycket skicklig etsare som utvecklade tekniken avsevärt. Estningar av Rembrandt dyker då och då upp på auktion och kan betinga betydande värden. Flertalet förteckningar och texter om just Rembrandts etsningar finns att tillgå för den specialintresserade. Till Rembrandts mer kända verk hör "Nattvakten"(Rijksmuseum, Amsterdam) och "Anatomilektionen"(Royal Picture Gallery Mauritshuis, Den Haag) Nationalmuseum i Stockholm hyser den välkända "Batavernas trohetsed till Cladius Civilis" och på Göteborgs konstmuseum kan man möta "Riddaren med falken/helige Bavo". Rembrandt hade en stor atlejé och många är hans efterföljare och elever. Stor var också ateljéns produktion Flertalet målningar som tidigare attribuerats till mästarens hand har i senare tid med hjälp av modern teknik omvärderats till att vara just målade av efterföljare etc. Idag anser man att endast finns ett hundratal äkta, egenhändigt utförda målningar av Rembrandt varav alla väl dokumenterade.
Source: http://www.bukowskismarket.com

Das Kolf-spiel (1654)

The Descent From The Cross At Night (1654)

Jakob Thomasz Haaring (the Young Haaring)

(2) Motiv Av Två äldre Män I Helskägg

Self Portrait In A Velvet Cap With Plume (1638)

Beggars Receiving Alms At The Door Of A House (1648)

Old Man With Divided Fur Cap

St. Jerome Kneeling In Prayer, Looking Down (Executed 1635)

Christ Seated Disputing With The Doctors

Self-portrait In A Falling Collar, Bust (1630)

Self Portrait In A Cap And Scarf With The Face Dark (1633)

Self Portrait With Plumed Cap And Lowered Sabre (1634)

Self Portrait In A Flat Cap And Embroidered Dress (ca 1638)

Abraham Caressing Isaac (1637)

The Strolling Musicians (1635)
