Rembrandt

==Painting materials==
[[File:Rembrandt - Saskia van Uylenburgh in Arcadian Costume - WGA19164.jpg|thumb|upright=1|''Saskia as [[Flora (mythology)|Flora]]'' (1635)]]

Technical investigation of Rembrandt's paintings in the possession of the [[Gemäldegalerie Alte Meister]]<ref>Kühn, Hermann. 'Untersuchungen zu den Pigmenten und Malgründen Rembrandts, durchgeführt an den Gemälden der Staatlichen Kunstsammlungen Dresden'(Examination of pigments and grounds used by Rembrandt, analysis carried out on paintings in the Staatlichen Kunstsammlungen Dresden), Maltechnik/Restauro, issue 4 (1977): 223–233</ref> and in the [[Gemäldegalerie Alte Meister (Kassel)]]<ref>Kühn, Hermann. 'Untersuchungen zu den Pigmenten und Malgründen Rembrandts, durchgeführt an den Gemälden der Staatlichen Kunstsammlungen Kassel' (Examination of pigments and grounds used by Rembrandt, analysis carried out on paintings in the Staatlichen Kunstsammlungen Kassel), Maltechnik/Restauro, volume 82 (1976): 25–33</ref> was conducted by Hermann Kühn in 1977. The pigment analyses of some thirty paintings have shown that Rembrandt's palette consisted of the following pigments: [[lead white]], various [[ochres]], Vandyke brown, bone black, [[charcoal black]], [[lamp black]], [[vermilion]], [[madder lake]], [[azurite]], [[ultramarine]], yellow lake and [[lead-tin-yellow]]. Synthetic [[orpiment]] was shown in the shadows of the sleeve of the jewish groom. This toxic arsenic yellow was rarely used in oil painting.<ref>Van Loon, A., Noble, P., Krekeler, A., van der Snickt, G., Janssens, K., Abe, Y., Nakai, I., & Dik, J. 2017. "Artificial orpiment, a new pigment in Rembrandt's palette". Heritage Science, 5 (26)</ref> One painting (Saskia van Uylenburgh as Flora)<ref>[http://colourlex.com/project/rembrandt-saskia-van-uylenburgh-as-flora/ Rembrandt, Saskia as Flora] {{webarchive |url=https://web.archive.org/web/20160315130325/http://colourlex.com/project/rembrandt-saskia-van-uylenburgh-as-flora/ |date=15 March 2016 }}, ColourLex</ref> reportedly contains [[gamboge]]. Rembrandt very rarely used pure blue or green colors, the most pronounced exception being [[Belshazzar's Feast (Rembrandt)|''Belshazzar's Feast'']]<ref name="bomford">Bomford, D. et al., Art in the making: Rembrandt, New edition, Yale University Press, 2006</ref><ref>[http://colourlex.com/belshazzars-feast-pigment-analysis/ Rembrandt, Belshazzar's Feast, Pigment analysis] {{webarchive |url=https://web.archive.org/web/20160407160341/http://colourlex.com/belshazzars-feast-pigment-analysis/ |date=7 April 2016 }} at ColourLex</ref> in the [[National Gallery in London]]. The book by Bomford<ref name=bomford/> describes more recent technical investigations and pigment analyses of Rembrandt's paintings predominantly in the National Gallery in London. The entire array of pigments employed by Rembrandt can be found at ColourLex.<ref>{{Cite web|url=https://colourlex.com/project/resources-rembrandt/|title=Resources Rembrandt|website=ColourLex|access-date=23 February 2021|archive-date=24 February 2021|archive-url=https://web.archive.org/web/20210224022601/https://colourlex.com/project/resources-rembrandt/|url-status=live}}</ref> The best source for technical information on Rembrandt's paintings on the web is the Rembrandt Database containing all works of Rembrandt with detailed investigative reports, infrared and radiography images and other scientific details.<ref>{{Cite web |title=The Rembrandt Database |url=http://www.rembrandtdatabase.org/Rembrandt/ |url-status=dead |archive-url=https://web.archive.org/web/20150823032221/http://www.rembrandtdatabase.org/Rembrandt |archive-date=23 August 2015 |access-date=6 July 2015}}</ref>