Rembrandt

==Influence and recognition==
{{More information|Old master print|Etching Revival|Rembrandt Research Project|List of things named after Rembrandt van Rijn|List of works about Rembrandt|List of Rembrandt pupils|List of Rembrandt connoisseurs and scholars}}
[[File:Nachtwacht-in-3D.jpg|thumb|upright=1|A Rembrandt statue and the sculptures of ''[[The Night Watch]]'' in 3D at the [[Rembrandtplein]] in Amsterdam]]
[[File:Goethe (Stieler 1828).jpg|thumb|upright=1|In 1775, [[Johann Wolfgang von Goethe]], then 25-years-old, wrote in a letter that "I live wholly with Rembrandt" ("...ich zeichne, künstle p. Und lebe ganz mit Rembrandt."). At the age of 81 (1831), Goethe wrote the essay "Rembrandt der Denker" ("Rembrandt the Thinker"), published in his posthumous collection.<ref>Münz, Ludwig: ''Die Kunst Rembrandts und Goethes Sehen''. (Leipzig: Verlag Heinrich Keller, 1934)</ref><ref>Van den Boogert, B.; et al.: ''Goethe en Rembrandt. Tekeningen uit Weimar. Uit de grafische bestanden van de Kunstsammlungen zu Weimar, aangevuld met werken uit het Goethe-Nationalmuseum''. (Amsterdam: Amsterdam University Press, 1999)</ref>]]
{{blockquote|[...] I maintain that it did not occur to [[Protogenes]], [[Apelles]] or [[Parrhasius (painter)|Parrhasius]], nor could it occur to them were they return to earth that (I am amazed simply to report this) a youth, a Dutchman, a beardless miller, could bring together so much in one human figure and express what is universal. All honor to thee, my Rembrandt! To have carried Illium, indeed all Asia, to Italy is a lesser achievement than to have brought the laurels of Greece and Italy to Holland, the achievement of a Dutchman who has seldom ventured outside the walls of his native city...|[[Constantijn Huygens]], Lord of Zuilichem, possibly the earliest known notable [[List of Rembrandt connoisseurs and scholars|Rembrandt connoisseur and critic]], 1629. Excerpt from the manuscript ''Autobiography of Constantijn Huygens'' (Koninklijke Bibliotheek, Den Haag), originally published in ''Oud Holland'' (1891), translated from the Dutch.<ref>Binstock, Benjamin: ''[[Jan Vermeer|Vermeer]]'s Family Secrets: Genius, Discovery, and the Unknown Apprentice''. (New York: [[Routledge]], 2009), p. 330</ref>}}

Rembrandt is [[List of things named after Rembrandt van Rijn|one of the most famous]]<ref>*Golahny, Amy (2001), '[https://www.academia.edu/11872097/Use_and_Misuse_of_Rembrandt_Dutch_Crossing_2001 The Use and Misuse of Rembrandt: An Overview of Popular Reception] {{Webarchive|url=https://web.archive.org/web/20210308192127/https://www.academia.edu/11872097/Use_and_Misuse_of_Rembrandt_Dutch_Crossing_2001 |date=8 March 2021 }},'. ''[[Dutch Crossing: Journal of Low Countries Studies]]'' 25(2): 305–322
* {{Cite web |last=[[Paul Solman|Solman, Paul]] |date=21 June 2004 |title=Rembrandt's Journey |url=http://www.pbs.org/newshour/bb/entertainment-jan-june04-rembrandt_6-21/ |access-date=10 October 2018 |publisher=[[PBS.org]] |quote=Paul Solman (2004): "[Rembrandt] The most famous brand name in western art. In America alone [[Rembrandt toothpaste|it graces toothpaste]], bracelet charms, restaurant and bars, counter-tops and of course the town of [[Rembrandt, Iowa]] just halfway around the world from the Rembrandt Hotel in Bangkok, Thailand." |archive-date=7 November 2021 |archive-url=https://web.archive.org/web/20211107223639/https://www.pbs.org/newshour/show/rembrandts-journey |url-status=live }}
* {{cite web |url=https://www.weeklystandard.com/algis-valiunas/looking-at-rembrandt |author=Valiunas, Algis |title=Looking at Rembrandt |work=[[The Weekly Standard]] |quote=Algis Valiunas (2006): "Alongside [[Leonardo da Vinci|Leonardo]] and [[Michelangelo]], Rembrandt is one of the three most famous artists ever, with whom the public is on a first-name basis; and the name Rembrandt has lent the cachet of greatness and the grace of familiarity to sell everything from kitchen countertops to whitening toothpaste to fancy hotels in Bangkok and [[Knightsbridge]]." |date=25 December 2006 |access-date=25 April 2020 |archive-date=16 December 2018 |archive-url=https://web.archive.org/web/20181216195352/https://www.weeklystandard.com/algis-valiunas/looking-at-rembrandt |url-status=live }}</ref><ref name="Dickey2006">{{Cite web |last=Crawford, Amy |date=12 December 2006 |title=An Interview with Stephanie Dickey, author of "Rembrandt at 400" |url=http://www.smithsonianmag.com/arts-culture/an-interview-with-stephanie-dickey-author-of-rembrandt-at-400-140522969/#WdpMp33EXQJKOY3r.99 |access-date=10 October 2018 |website=[[Smithsonian Magazine]] |archive-date=21 September 2018 |archive-url=https://web.archive.org/web/20180921225848/https://www.smithsonianmag.com/arts-culture/an-interview-with-stephanie-dickey-author-of-rembrandt-at-400-140522969/#WdpMp33EXQJKOY3r.99 |url-status=live }}</ref> and [[List of works about Rembrandt|the best expertly researched]] visual artists in history.<ref name="Slive">[[Seymour Slive|Slive, Seymour]]: ''Rembrandt and his Critics, 1630–1730''. (The Hague: Martinus Nijhoff, 1953)</ref><ref name="FranitsAshgate2016" /> His life and art have long attracted the attention of interdisciplinary scholarship such as art history, socio-political history,<ref>*[[Antonio Negri|Negri, Antonio]]: ''The Savage Anomaly: The Power of Spinoza's Metaphysics and Politics''. (Minneapolis: University of Minnesota Press, 1991). <!--Translated from the Italian by [[Michael Hardt]]. Originally published as ''L'anomalia selvaggia. Saggio su potere e potenza in Baruch Spinoza'' (Milano: Feltrinelli, 1981). [[Antonio Negri]] (1981): "[[Leszek Kołakowski|Kolakowski]], as we will see, has clearly depicted the religious life and the forms of community constructed by the cultured strata of the Dutch bourgeoisie. [[Benedictus de Spinoza|Spinoza]] lives in this world, with a vast network of simple and sociable friendships and correspondences. But for certain determinate strata of the bourgeoisie the sweetness of the cultured and sedate life is accompanied, without any contradiction, by an association with a capitalist power ('potestas'), expressed in very mature terms. This is the condition of a Dutch bourgeois man. We could say the same thing for the other genius of that age, Rembrandt van Rijn. On his canvases the power of light is concentrated with intensity on the figures of a bourgeois world in terrific expansion. It is a prosaic but very powerful society, which makes poetry without knowing it because it has the force to do so."-->
* Ahmad, Iftikhar (2008), 'Art in Social Studies: Exploring the World and Ourselves with Rembrandt,'. ''The Journal of Aesthetic Education'' 42(2): 19–37
* {{Cite web |last=[[John Molyneux (academic)|Molyneux, John]] |date=5 July 2019 |title=The Dialectics of Art |url=http://www.rebelnews.ie/2019/07/05/the-dialectics-of-art/ |access-date=25 June 2020 |publisher=Rebelnews.ie <!--|quote=[[John Molyneux (academic)|John Molyneux--> (2019) |archive-date=30 June 2020 |archive-url=https://web.archive.org/web/20200630082351/http://www.rebelnews.ie/2019/07/05/the-dialectics-of-art/ |url-status=bot: unknown }}<!--"...In short there is a [[dialectical]] relationship between art and society. Thus two major artists from the same period and the same part of the world may respond to the same historical events in very different ways. One example would be [[Peter Paul Rubens|Rubens]] and Rembrandt. Rubens (1577–1640) was based in Antwerp and Rembrandt (1606–1669) in Amsterdam. Rembrandt's art was very much a product of the [[Dutch Revolt]], a [[bourgeois revolution]] which established the Dutch Republic, while Rubens' art was commissioned by and expressed the aristocratic counter-revolution of the Habsburg Empire." |archive-date=30 June 2020 |archive-url= |url-status=live }}</ref> cultural history,<ref>
*[[Julius Bab|Bab, Julius]]: ''Rembrandt und [[Baruch Spinoza|Spinoza]]. Ein Doppelbildnis im deutsch-jüdischen Raum''. (Berlin: Philo-Verlag, 1934)
* [[Wilhelm Valentiner|Valentiner, Wilhelm R.]]: ''Rembrandt and Spinoza: A Study of the Spiritual Conflicts in [[Dutch Golden Age|Seventeenth-Century Holland]]''. (London: Phaidon Press, 1957)
* Streiff, Bruno: ''Le Peintre et le Philosophe ou Rembrandt et Spinoza à Amsterdam''. (Paris: Éditions Complicités, 2002) {{ISBN|978-2910721343}}</ref> education, humanities, philosophy and aesthetics,<ref>*[[Georg Simmel|Simmel, Georg]]: ''Rembrandt: Ein kunstphilodophischer Versuch''. (Leipzig: K. Wolff Verlag, 1916)
* Simmel, Georg: ''Rembrandt: An Essay in the Philosophy of Art''. Translated and edited by Alan Scott and Helmut Staubmann. (New York: Routledge, 2005)
* Budick, Sanford (1997), '[[Descartes]]'s Cogito, [[Kant]]'s Sublime, and Rembrandt's Philosophers: Cultural Transmission as Occasion for Freedom,'. ''Modern Language Quarterly'' 58(1): 27–61. {{doi|10.1215/00267929-58-1-27}}
* Wright, J. Lenore (2007), 'Reading Rembrandt: The influence of [[Cartesian dualism]] on [[Dutch Golden Age painting|Dutch art]],'. ''History of European Ideas'' 33(3): 275–291. {{doi|10.1016/j.histeuroideas.2006.11.012}}</ref> psychology, sociology, literary studies,<ref>*[[Jean Genet|Genet, Jean]]: ''Le Secret de Rembrandt'' [Œuvres complètes]. (Paris: Gallimard, 1968) {{ISBN|2070102157}}
* Genet, Jean: ''Rembrandt''. (Paris: Gallimard, 2016)
* [[Marcel Proust|Proust, Marcel]]: ''[[Jean-Baptiste-Siméon Chardin|Chardin]] et Rembrandt''. (Paris: Le Bruit du Temps, 2009)
* Pavans, Jean: ''[[Marcel Proust|Proust]], Vermeer, Rembrandt''. (Paris: Éditions Arléa, 2018)
* [[Tzvetan Todorov|Todorov, Tzvetan]]: ''L'art ou la vie! Le cas Rembrandt. Suivi d'Art et morale''. (Paris: Biro Éditeur, 2008)
* Hassine, Juliette (2006), 'Correspondance des arts: Rembrandt-[[Fyodor Dostoyevsky|Dostoïevski]] dans l'Europe du vingtième siècle (In memoriam Jo Yoshida)'. (Department Bulletin Paper, [[Kyoto University]], 2006/06/20). {{doi|10.14989/138068}}</ref> [[anatomy]],<ref>*IJpma, Frank F.A.; van de Graaf, Robert C.; Nicolai, J.-P. A.; Meek, M. F. (2006), '[[The Anatomy Lesson of Dr. Nicolaes Tulp]] by Rembrandt (1632): A Comparison of the Painting With a Dissected Left Forearm of a Dutch Male Cadaver,'. ''The Journal of Hand Surgery'' 31(6): 882–891. {{doi|10.1016/j.jhsa.2006.02.014}}
* Ijpma, Frank F.A.; van Gulik, T. M. (2018), 'Anatomy lesson of the brain and cerebral membranes [[The Anatomy Lesson of Dr. Deijman|captured on canvas by Rembrandt in 1656]],'. ''British Journal of Surgery'' 105(5): 1–7. {{doi|10.1002/bjs.10610}}
* Fernández, F. J. de Paz (2018), 'Rembrandt's Anatomy lessons,'. ''Neurosciences and History'' 6(1): 1–9</ref> medicine,<ref>*Harris, P. (1995), 'Rembrandt and medicine,'. ''J R Coll Surg Edinb.'' 40(2): 81–83
* Marcus, Esther-Lee; Clarfield, A. Mark (2002), 'Rembrandt's Late Self-Portraits: Psychological and Medical Aspects,'. ''The International Journal of Aging and Human Development'' 55(1): 25–49. {{doi|10.2190/8LQ5-CC7W-UJDF-TNM0}}
* Livingstone, M. S.; Conway, B. R. (2004), 'Was Rembrandt [[stereoblind]]?,'. ''New England Journal of Medicine'' 351(12): 1264–1265. {{doi|10.1056/NEJM200409163511224}}
* Friedman, Tal; Lurie, Doron; Westreich, Melvyn; Golik, A. (2007), 'Rembrandt – Aging and Sickness: A Combined Look by Plastic Surgeons, an Art Researcher and an Internal Medicine Specialist,'. ''Israel Medical Association Journal'' 9(2): 67–71
* Friedman, Tal; Lurie, Doron; Shalom, A. (2012), 'Authentication of Rembrandt's self-portraits through the use of facial aging analysis,'. ''Isr Med Assoc J.'' 14(10): 591–594
* Hage, J. Joris; Lange, Jan; Karim, Refaat B. (2019), 'Rembrandt's Aging Face in Plastic Surgical Perspective,'. ''Annals of Plastic Surgery'' 83(2): 123–131. {{doi|10.1097/SAP.0000000000001917}}</ref> [[religious studies]],{{efn|It is important to note that Rembrandt's religious affiliation was uncertain. There is little evidence that Rembrandt formally belonged to any [[Christian denomination]].}}<ref>*Zell, Michael: ''Reframing Rembrandt: Jews and the Christian Image in Seventeenth-Century Amsterdam''. (Berkeley: University of California Press, 2002)
* Durham, John: ''The Biblical Rembrandt: Human Painter in a Landscape of Faith''. (Macon, GA.: Mercer University Press, 2004) {{ISBN|978-0865548862}}
* Perlove, Shelley; Silver, Larry: ''Rembrandt's Faith: Church and Temple in the Dutch Golden Age''. (University Park, PA: Pennsylvania State University Press, 2009) {{ISBN|978-0271034065}}
* Perlove, Shelley; Silver, Larry (2007), 'Rembrandt and the [[Catholic Church in the Netherlands|Dutch Catholics]],'. ''[[Canadian Journal of Netherlandic Studies]] / Revue canadienne d'études néerlandaises'' 28: 53–75
* Squarzina, Silvia Danesi: ''Giovinezza di Rembrandt. La committenza [[Mennonites|mennonita]]''. (Roma: De Luca Editori d'Arte, 2013) {{ISBN|8865571373}}</ref> theology,<ref>*Joby, Christopher (2004), 'How Does the Work of Rembrandt van Rijn Represent a [[Calvinist]] Aesthetic?,'. ''Theology'' 107(835): 22–29
* Marsh, Clive (1997), 'Rembrandt Reads the Gospels: Form, Context and Theological Responsibility in New Testament Interpretation,'. ''Scottish Journal of Theology'' 50(4): 399–413</ref> [[Jewish studies]],<ref>*[[Anna Seghers|Seghers, Anna]] (Reiling Radványi, Netty): ''Jude und Judentum im Werke Rembrandts''. (PhD diss., Universität Heidelberg, 1924; Leipzig: Reclam, 1981)
* [[Steven Nadler|Nadler, Steven]]: ''[[History of the Jews in Amsterdam|Rembrandt's Jews]]''. (Chicago: University of Chicago Press, 2003)</ref> [[Oriental studies]] ([[Asian studies]]),<ref>*Van Breda, Jacobus (1997), 'Rembrandt Etchings on Oriental Papers: Papers in the Collection of the National Gallery of Victoria,'. ''Art Bulletin of Victoria'' 38 (1997): 25–38
* Kalmar, Ivan (2012), 'Rembrandt's Orient: where Earth met Heaven,'. Chapter 6, in: Ivan Kalmar, ''Early Orientalism: Imagined Islam and the Notion of Sublime Power''. (New York: Routledge, 2012), pp. 56–66
* {{Cite web |date=2 June 2015 |title=Rembrandt's Etchings and Japanese Washi Paper from Echizen |url=https://www.washiarts.com/blog/2015/6/2/cwq3r9mi213gng6yi2j6ykq7ik69ux |access-date=12 June 2020 |publisher=Washi Arts (www.washiarts.com) |archive-date=17 June 2020 |archive-url=https://web.archive.org/web/20200617092819/https://www.washiarts.com/blog/2015/6/2/cwq3r9mi213gng6yi2j6ykq7ik69ux |url-status=live }}
* Schrader, Stephanie; et al. (eds.): ''Rembrandt and the Inspiration of India''. (Los Angeles, CA: J. Paul Getty Museum, 2018)
* Westheider, Ortrud; Helfenstein, Joseph; Brinkmann, Bodo; Philipp, Michael (eds.): ''Rembrandt's Orient: West Meets East in Dutch Art of the 17th Century''. (Munich: Prestel, 2020)</ref> [[global studies]],<ref>*Scallen, Catherine B. (2009), 'The Global Rembrandt,'. In: ''Crossing Cultures: Conflict, Migration and Convergence: The Proceedings of the 32nd International Congress in the History of Art'', edited by Jaynie Anderson. (Carlton: Miegunyah Press, 2009), pp. 263–267
* Behpoor, Bavand (2010), 'How Moghul Was Rembrandt? A Critique on a Global Laboratory of Infinite Multiplicities,'. ''Third Text'' 24(4): 501–504. {{doi|10.1080/09528822.2010.491389}}
* Chung, Jina: ''Rembrandt Redefined: Making the "Global Artist" in Seventeenth-Century Amsterdam''. (MA thesis, [[University of Texas at Austin]], 2011)</ref> and [[art market|art market research]].<ref>*[[Svetlana Alpers|Alpers, Svetlana]]: ''Rembrandt's Enterprise: The Studio and the Market''. (Chicago: University of Chicago Press, 1988) {{ISBN|978-0226015187}}
* Bok, Marten Jan (2004), 'Rembrandt's Fame and Rembrandt's Failure: The Market for History Paintings in the Dutch Republic,'. In: A. Kofuku (ed.), ''Rembrandt and Dutch History Painting in the 17th Century''. (Tokyo, 2004), pp.&nbsp;159–180
* Bok, Marten Jan; van der Molen, Tom (2009), 'Productivity Levels of Rembrandt and His Main Competitors in the Amsterdam Art Market,'. ''Jahrbuch der Berliner Museen'' 51. Bd., Beiheft. Rembrandt – Wissenschaft auf der Suche. Beiträge des Internationalen Symposiums Berlin – 4. und 5. November 2006: 61–68
* Crenshaw, Paul: ''Rembrandt's Bankruptcy: The Artist, his Patrons, and the Art market in Seventeenth-Century Netherlands''. (Cambridge and New York: Cambridge University Press, 2006) {{ISBN|978-0521858250}}
* Tummers, Annaand; Jonckheere, Koenraad (eds.): ''[[Art market]] and [[Connoisseurship]]: A Closer Look at Paintings by Rembrandt, Rubens and Their Contemporaries''. (Amsterdam: Amsterdam University Press, 2008)</ref> He has been the subject of a vast amount of literature [[List of works about Rembrandt|in genres of both fiction and nonfiction]]. Research and scholarship related to Rembrandt is an academic field in its own right with many notable [[List of Rembrandt connoisseurs and scholars|connoisseurs and scholars]]<ref>{{Cite web |last=[[Gary Schwartz (art historian)|Schwartz, Gary]] |date=11 July 2017 |title=How I became a Rembrandt scholar |url=http://www.garyschwartzarthistorian.nl/354-how-i-became-a-rembrandt-scholar/ |access-date=11 July 2020 |website=garyschwartzarthistorian.nl |archive-date=16 July 2020 |archive-url=https://web.archive.org/web/20200716143455/http://www.garyschwartzarthistorian.nl/354-how-i-became-a-rembrandt-scholar/ |url-status=live }}</ref> and has been very dynamic since the Dutch Golden Age.<ref name="Slive" /><ref>Chalard-Fillaudeau, Anne: ''Rembrandt, l'artiste au fil des textes: Rembrandt dans la littérature et la philosophie européennes depuis 1669''. (Paris: L'Harmattan, 2004)</ref><ref name="FranitsAshgate2016" />

According to art historian and Rembrandt scholar Stephanie Dickey: <blockquote>[Rembrandt] earned international renown as a painter, printmaker, teacher, and art collector while never leaving the Dutch Republic. In his home city of Leiden and in Amsterdam, where he worked for nearly forty years, he mentored generations of other painters and produced a body of work that has never ceased to attract admiration, critique, and interpretation. (...) Rembrandt's art is a key component in any study of the Dutch Golden Age, and his membership in the canon of artistic genius is well established but he is also a figure whose significance transcends specialist interest. Literary critics have pondered "Rembrandt" as a "cultural text"; novelists, playwrights, and filmmakers have romanticized his life, and in popular culture, his name has become synonymous with excellence for products and services, ranging from [[Rembrandt toothpaste|toothpaste]] to self-help advice.<ref name="FranitsAshgate2016">Franits, Wayne (ed.): ''The Ashgate Research Companion to Dutch Art of the Seventeenth Century''. (Burlington, VT: Ashgate, 2016)</ref></blockquote>

[[Francisco Goya]], often considered to be among the last of the [[Old Masters]], said, "I have had three masters: Nature, [[Diego Velázquez|Velázquez]], and Rembrandt." ("Yo no he tenido otros maestros que la Naturaleza, Velázquez y Rembrandt.")<ref>Protter, Eric (ed.): ''Painters on Painting''. (Mineola, NY: Dover Publications, 1997, {{ISBN|0486299414}}), p. 98</ref><ref>{{Cite web |date=7 January 2017 |title=La luz en la sombra (de Rembrandt a Goya) |url=http://www.realgoya.com/light-in-shadow-from-rembrandt-to-goya/ |access-date=17 May 2020 |website=RealGoya.com |archive-date=14 May 2020 |archive-url=https://web.archive.org/web/20200514191918/http://www.realgoya.com/light-in-shadow-from-rembrandt-to-goya/ |url-status=live }}</ref><ref>{{Cite web |last=Rodriguez, Angel |date=16 April 2020 |title=Rembrandt en España |url=https://arsmagazine.com/rembrandt-en-espana/ |access-date=16 May 2020 |website=Arsmagazine.com |archive-date=29 April 2020 |archive-url=https://web.archive.org/web/20200429094439/https://arsmagazine.com/rembrandt-en-espana/ |url-status=live }}</ref> In the history of the reception and interpretation of Rembrandt's art, it was the significant Rembrandt-inspired 'revivals' or 'rediscoveries' in 18th–19th century France,<ref>McQueen, Alison: ''The Rise of the Cult of Rembrandt: Reinventing an Old Master in Nineteenth-Century France''. (Amsterdam: Amsterdam University Press, 2003)</ref><ref>Prigot, Aude: ''La réception de Rembrandt à travers les estampes en France au XVIIIe siècle''. (Rennes: Presses universitaires de Rennes, 2018) {{ISBN|978-2753575523}}</ref> Germany,<ref>[[Julius Langbehn|Langbehn, Julius]]: ''Rembrandt als Erzieher'' [''Rembrandt as Teacher''/''Rembrandt as Educator'']. (Leipzig: C.L. Hirschfeld, 1890)</ref><ref>[[Liesbeth Heenk|Heenk, Liesbeth]]: ''Rembrandt and his Influence on Eighteenth-century German and Austrian [[Printmaker]]s''. (Amsterdam: Museum het Rembrandthuis – Rembrandt Information Centre, 1998)</ref><ref>Chalard-Fillaudeau, Anne: ''Rembrandt ou le génie du dépassement. Essai sur l'artiste hollandais dans l'histoire de l'art allemande''. ([[Saarbrücken]]: Editions Universitaires Européennes, 2010)</ref> and Britain<ref>Hoff, Ursula: ''Rembrandt und England''. (Hamburg: Kleinert, 1935)</ref><ref>White, Christopher; Alexander, David; D'Oench, Ellen: ''Rembrandt in Eighteenth-Century England''. (New Haven: Yale Center for British Art, 1983)</ref><ref>Seifert, Christian Tico; Dickey, Stephanie S.; et al.: ''Rembrandt: Britain's Discovery of the Master''. (Edinburgh: National Galleries of Scotland, 2018) {{ISBN|978-1911054191}}</ref><ref>Seifert, Christian Tico: ''Rembrandt & Britain''. (Edinburgh: Trustees of the National Galleries of Scotland, 2018)</ref> that decisively helped in establishing his lasting fame in subsequent centuries.<ref>Scallen, Catherine B.: ''Rembrandt, Reputation, and the Practice of Connoisseurship''. (Amsterdam: Amsterdam University Press, 2004)</ref> When a critic referred to [[Auguste Rodin]]'s busts in the same vein as Rembrandt's portraits, the French sculptor responded: "Compare me with Rembrandt? What sacrilege! With Rembrandt, the colossus of Art! What are you thinking of, my friend! We should prostrate ourselves before Rembrandt and never compare anyone with him!”<ref name="Rodin">[[Auguste Rodin|Rodin, Auguste]]: ''Art: Conversations with Paul Gsell''. Translated from the French by Jacques de Caso and Patricia B. Sanders. (Berkeley, CA: University of California Press, 1984) {{ISBN|0520038193}}, p. 85. Originally published as ''Auguste Rodin, L'Art: Entretiens réunis par Paul Gsell'' (Paris: Bernard Grasset, 1911). Auguste Rodin: "Me comparer à Rembrandt, quel sacrilège! À Rembrandt, le colosse de l'Art! Y pensez-vous, mon ami! Rembrandt, prosternons-nous et ne mettons jamais personne à côté de lui!” (original in French)</ref> [[Vincent van Gogh]] wrote to [[Theo van Gogh (art dealer)|his brother Theo]] (1885), "Rembrandt goes so deep into the mysterious that he says things for which there are no words in any language. It is with justice that they call Rembrandt—magician—that's no easy occupation."<ref>Wessels, Anton: ''Van Gogh and the Art of Living: The Gospel According to Vincent van Gogh''. (Wipf & Stock, 2013, {{ISBN|978-1625641090}})</ref>

===Rembrandt and the Jewish world===
{{See also|History of the Jews in Amsterdam}}
[[File:Rembrandt Harmensz. van Rijn - Portret van een paar als oudtestamentische figuren, genaamd 'Het Joodse bruidje' - Google Art Project.jpg|thumb|upright=1|''[[The Jewish Bride]]'' ({{circa|1665}}–1669), now housed at [[Rijksmuseum]]. [[Vincent van Gogh]]'s wrote in 1885, "I should be happy to give 10 years of my life if I could go on sitting here in front of this picture (''The Jewish Bride'') for a fortnight, with only a crust of dry bread for food." In a letter to [[Theo van Gogh (art dealer)|his brother Theo]], Vincent wrote, "What an intimate, what an infinitely sympathetic picture it is."<ref>{{Cite web |last=Masters, Tim |date=14 October 2014 |title=Exhibition paints Rembrandt as 'modern' artist |url=https://www.bbc.com/news/entertainment-arts-29484448 |access-date=14 May 2020 |publisher=[[BBC.com]] |archive-date=8 March 2021 |archive-url=https://web.archive.org/web/20210308130505/https://www.bbc.com/news/entertainment-arts-29484448 |url-status=live }}</ref>]]

In his works, he exhibited knowledge of classical [[iconography]]. A 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 Amsterdam|Jewish population]].<ref name="Clark_203_204">{{Harvnb|Clark|1969|pp=203–204}}</ref> Because of his empathy for the human condition, he has been called "one of the great prophets of civilization".<ref name="Clark_205">{{Harvnb|Clark|1969|pp=205}}</ref>
Rembrandt had a considerable influence on many modern Jewish artists, writers and scholars ([[art critic]]s and art historians in particular).<ref>{{Cite web |last=Golahny, Amy |date=April 2004 |title=Book Review: ''Rembrandt's Jews'' by Steven Nadler |url=https://hnanews.org/hnar/reviews/rembrandts-jews/ |access-date=14 July 2020 |website=Historians of Netherlandish Art Reviews (hnanews.org/hnar/reviews) |archive-date=17 July 2020 |archive-url=https://web.archive.org/web/20200717104818/https://hnanews.org/hnar/reviews/rembrandts-jews/ |url-status=live }}</ref><ref>{{Cite web |last=Derman, Ushi |date=13 July 2020 |title=Was Rembrandt "One of ours"? How The Dutch Genius Became a Jew of Honor |url=https://www.bh.org.il/blog-items/rembrandt-one-dutch-genius-became-jew-honor/ |access-date=20 July 2020 |website=[[Beit Hatfutsot]] (bh.org.il) |archive-date=18 July 2020 |archive-url=https://web.archive.org/web/20200718083133/https://www.bh.org.il/blog-items/rembrandt-one-dutch-genius-became-jew-honor/ |url-status=live }}</ref> The German-Jewish painter [[Max Liebermann]] said, "Whenever I see a [[Frans Hals]], I feel like painting; whenever I see a Rembrandt, I feel like giving up."<ref>{{Cite book |last=Molina Cortón |first=Juan |title=Dánae – Mito, poder y erotismo en la pintura occidental |publisher=Cultiva Libros |year=2014 |location=Madrid, Spain |language=es |chapter=Chap. IX}}</ref> [[Marc Chagall]] wrote in 1922, "Neither [[Imperial Russia]], nor the Russia of the [[Soviets]] needs me. They don't understand me. I am a stranger to them," and he added, "I'm certain Rembrandt loves me":<ref>Wullschlager, Jackie: ''Chagall: A Biography''. (New York: Alfred A. Knopf, 2008), p. 274</ref>

{{blockquote|<!--It has proved a comfort to me, [[The Holocaust|in this era of European Jewish tragedy]], to dwell upon the life and work of Rembrandt. Here was a man of Germanic ancestry who did not regard the Jews in the Holland of his day as a "misfortune," but approached them with friendly sentiments, dwelt in their midst, and portrayed their personalities and ways of life.--> Rembrandt  regarded the Bible as the greatest Book in the world and held it in reverent affection all his life, in affluence and poverty, in success and failure. He never wearied in his devotion to biblical themes as subjects for his paintings and other graphic presentations, and in these portrayals he was the first to have the courage to use the Jews of his environment as models for the heroes of the sacred narratives.|Franz Landsberger, a German Jewish émigré to America, the author of ''Rembrandt, the Jews, and the Bible'' (1946)<ref>Landsberger, Franz: ''Rembrandt, the Jews, and the Bible''. Translated from the German by Felix N. Gerson. (Philadelphia: Jewish Publication Society, 1946)</ref><ref>Zell, Michael: ''Reframing Rembrandt: Jews and the Christian Image in Seventeenth-Century Amsterdam''. (Berkeley: University of California Press, 2002), pp. 45–46</ref>}}

===Criticism of Rembrandt===

[[File:Rembrandt Memorial Marker Westerkerk Amsterdam.jpg|thumb|upright=1|Rembrandt Memorial Marker in the [[Westerkerk]] section of Amsterdam]]

Rembrandt has also been one of the most controversial (visual) artists in history.<ref name="Slive" /><ref name="Białostocki" /> Several of Rembrandt's notable critics include [[Constantijn Huygens]], [[Joachim von Sandrart]],<ref name="LivesRembrandt" /> [[:nl:Andries Pels (1631-1681)|Andries Pels]] (who called Rembrandt "the first heretic in the art of painting"),<ref>Muller, Sheila D. (ed.): ''Dutch Art: An Encyclopedia''. (New York: Garland Pub., 1997), p. 178</ref> [[Samuel van Hoogstraten]], [[Arnold Houbraken]],<ref name="LivesRembrandt">[[Joachim von Sandrart|Von Sandrart, Joachim]]; [[Filippo Baldinucci|Baldinucci, Filippo]]; [[Arnold Houbraken|Houbraken, Arnold]]: ''Lives of Rembrandt'' [Lives of the Artists]. Introduced by Charles Ford. (Los Angeles, CA: [[J. Paul Getty Museum]], 2018) {{ISBN|978-1606065624}}</ref> [[Filippo Baldinucci]],<ref name="LivesRembrandt" /> [[Gerard de Lairesse]], [[Roger de Piles]], [[John Ruskin]],<ref name="Ruskin">Nichols, Aidan: ''All Great Art is Praise: Art and Religion in John Ruskin''. (Washington, D.C.: The Catholic University of America Press, 2016), p. 454. In [[John Ruskin|Ruskin]]' words, "It is the aim of the best painters to paint the noblest things they can see by sunlight. It was the aim of Rembrandt to paint the foulest things he could see—by rushlight."</ref> and [[Eugène Fromentin]]:<ref name="Białostocki" />

{{Cquote|By 1875 Rembrandt was already a powerful figure, projecting from historical past into the present with such a strength that he could not be simply overlooked or passed by. The great shadow of the old master required a decided attitude. A late [[Romantic painting|Romantic painter]] and critic, like [[Eugène Fromentin|Fromentin]] was, if he happened not to like some of Rembrandt's pictures, he felt obliged to justify his feeling. The greatness of the dramatic old master was for artists of about 1875 not a matter for doubt. 'Either I am wrong', Fromentin wrote from Holland 'or everybody else is wrong'. When Fromentin realized his inability to like some of the works by Rembrandt he formulated the following comments: 'I even do not dare to write down such a blasphemy; I would get ridiculed if this is disclosed'. Only about twenty-five years earlier another French Romantic master [[Eugène Delacroix]], when expressing his admiration for Rembrandt, has written in his ''Journal'' a very different statement: '... perhaps one day we will discover that Rembrandt is a much greater painter than [[Raphael]]. It is a blasphemy which would make hair raise on the heads of all the academic painters'. In 1851 the blasphemy was to put Rembrandt above Raphael. In 1875 the blasphemy was not to admire everything Rembrandt had ever produced. Between these two dates, the appreciation of Rembrandt reached its turning point and since that time he was never deprived of the high rank in the art world.|200px||Rembrandt scholar [[Jan Białostocki]] (1972)<ref name="Białostocki">[[Jan Białostocki|Białostocki, Jan]] (1972), 'Rembrandt and Posterity,'. Nederlands Kunsthistorisch Jaarboek 23 (1972): 131–157. {{JSTOR|24705655}}</ref>}}

===In popular culture===
{{See also|Category:Cultural depictions of Rembrandt}}
[[File:Leiden Rembrandt Statue.jpg|thumb|upright=1|The Rembrandt statue in [[Leiden]]]]
{{blockquote|[...] One thing that really surprises me is the extent to which Rembrandt exists as a phenomenon in [[pop culture]]. You have this [[The Rembrandts|musical group call [''sic''] the Rembrandts]], who wrote the theme song to ''Friends''—"I'll Be There For You". There are Rembrandt restaurants, Rembrandt hotels, art supplies and other things that are more obvious. But then there's [[Rembrandt toothpaste]]. Why on Earth would somebody name a toothpaste after this artist who's known for his really dark tonalities? It doesn't make a lot of sense. But I think it's because his name has become synonymous with quality. It's even a verb—there's a term in underworld slang, 'to be Rembrandted,' which means to be framed for a crime. And people in the cinema world use it to mean pictorial effects that are overdone. He's just everywhere, and people who don't know anything, who wouldn't recognize a Rembrandt painting if they tripped over it, you say the name Rembrandt and they already know that this is a great artist. He's become a synonym for greatness.|Rembrandt scholar, Stephanie Dickey, in an interview with ''[[Smithsonian Magazine]]'', December 2006<ref name="Dickey2006" />}}
While shooting ''The Warrens of Virginia'' (1915), [[Cecil B. DeMille]] had experimented with lighting instruments borrowed from a Los Angeles opera house. When business partner [[Sam Goldwyn]] saw a scene in which only half an actor's face was illuminated, he feared the exhibitors would pay only half the price for the picture. DeMille remonstrated that it was [[Rembrandt lighting]]. "Sam's reply was jubilant with relief," recalled DeMille. "For Rembrandt lighting the exhibitors would pay double!"<ref>{{Cite web |last=[[Cecil B. De Mille|Cecil B. De Mille Foundation]] |title=The Legacy of Cecil B. DeMille |url=https://www.cecilbdemille.com/legacy/ |access-date=20 May 2020 |website=Cecil B. De Mille Foundation (cecilbdemille.com) |archive-date=10 August 2020 |archive-url=https://web.archive.org/web/20200810080817/https://www.cecilbdemille.com/legacy/ |url-status=live }}</ref>

===Works about Rembrandt===
{{See also|Category:Works about Rembrandt}}

====Literary works (e.g. poetry and fiction)====
* ''To the Picture of Rembrandt'', a Russian-language poem by [[Mikhail Lermontov]], 1830
* ''[[Gaspard de la Nuit (poetry collection)|Gaspard de la nuit: Fantaisies à la manière de Rembrandt et de Callot]]'', a series of French-language poems by [[Aloysius Bertrand]], 1842
* ''[[Picture This (novel)|Picture This]]'', a novel by [[Joseph Heller]], 1988
* ''Moi, la Putain de Rembrandt'', a French-language novel by Sylvie Matton, 1998
* ''Van Rijn'', a novel by Sarah Emily Miano, 2006
* ''[[I Am Rembrandt's Daughter]]'', a novel by Lynn Cullen, 2007
* ''[[The Rembrandt Affair]]'', a novel by [[Daniel Silva (novelist)|Daniel Silva]], 2011
* ''The Anatomy Lesson'', a novel by Nina Siegal, 2014
* ''Rembrandt's Mirror'', a novel by Kim Devereux, 2015

====Music====
*The [[Donna Summer]] song ''[[Dinner with Gershwin]]'' contain the lyrics "I want to watch Rembrandt sketch."
*The [[Scott Walker (singer)]] song Duchess features the lyrics “It’s your Bicycle bells / and your Rembrandt swells”

====Films====
* ''[[The Stolen Rembrandt]]'', a 1914 film directed by [[Leo D. Maloney]] and [[J. P. McGowan]]
* ''[[The Tragedy of a Great]]'' / ''Die Tragödie eines Großen'', a 1920 film directed by Arthur Günsburg
* ''[[The Missing Rembrandt]]'', a 1932 film directed by [[Leslie S. Hiscott]]
* ''[[Rembrandt (1936 film)|Rembrandt]]'', a 1936 film directed by [[Alexander Korda]]
* ''[[Rembrandt (1940 film)|Rembrandt]]'', a 1940 film
* ''Rembrandt in de schuilkelder'' / ''Rembrandt in the Bunker'', a 1941 film directed by Gerard Rutten
* ''[[Rembrandt (1942 film)|Rembrandt]]'', a 1942 film directed by [[Hans Steinhoff]]
* ''[[Rembrandt: A Self-Portrait]]'', a 1954 documentary film by Morrie Roizman
* ''Rembrandt, schilder van de mens'' / ''Rembrandt, Painter of Man'', a 1957 film directed by Bert Haanstra
* ''[[Rembrandt fecit 1669]]'', a 1977 film directed by [[Jos Stelling]]
* ''Rembrandt: The Public Eye and the Private Gaze'', a 1992 documentary film by [[Simon Schama]]
* ''[[Rembrandt (1999 film)|Rembrandt]]'', a 1999 film directed by [[Charles Matton]]
* ''{{Ill|Rembrandt: Fathers & Sons|it}}'', a 1999 film directed by David Devine
* ''[[Stealing Rembrandt]]'', a 2003 film directed by [[Jannik Johansen]] and [[Anders Thomas Jensen]]
* ''[[Simon Schama's Power of Art]]: Rembrandt'', a 2006 [[BBC]] documentary film series by Simon Schama
* ''[[Nightwatching]]'', a 2007 film directed by [[Peter Greenaway]]
* ''[[Rembrandt's J'Accuse]]'', a 2008 documentary film by [[Peter Greenaway]]
* ''{{Ill|Rembrandt en ik|nl}}'', a 2011 film directed by Marleen Gorris
* ''Schama on Rembrandt: Masterpieces of the Late Years'', a 2014 documentary film by Simon Schama
* ''Rembrandt: From the National Gallery, London and Rijksmuseum, Amsterdam'', a 2014 documentary film by Exhibition on Screen