Rembrandt

==Career==
[[File:SA 8422-De Kloveniersdoelen aan de Amstel-De Kloveniersburgwal op de hoek van de Amstel met de toren "Swijgh Utrecht".jpg|thumb|Rembrandt lived at [[Amstel|Amstel river]] almost next to [[Kloveniersdoelen,  Amsterdam|Kloveniersdoelen]] where [[the Night Watch]] was exhibited for years; painting by [[Jan Ekels the Elder]] (1775) ]] [[File:Cornelis Springer, Afb 010001000785.jpg|thumb|[[Rembrandt House Museum|Rembrandt's house]] at  [[Jodenbreestraat]] by [[Cornelis Springer]] (1853); in the back the [[Zuiderkerk]] where his children were buried]]

In 1625, Rembrandt opened a studio in Leiden, which he shared with friend and colleague [[Jan Lievens]]. In 1627, Rembrandt began to accept students, among them [[Gerrit Dou]] and [[Isaac de Jouderville]].<ref>Slive has a comprehensive biography, pp. 55ff.</ref> [[Joan Huydecoper van Maarsseveen (1599–1661)|Joan Huydecoper]] is mentioned as the first buyer of a Rembrandt painting in 1628.<ref>Schwarz, G. (1987) Rembrandt, p. 134.</ref> In 1629, Rembrandt was discovered by the statesman [[Constantijn Huygens]]<!--, father of the [[Netherlands|Dutch]] mathematician and physicist [[Christiaan Huygens]],--> who procured for Rembrandt important commissions from the court of The Hague. As a result of this connection, Prince [[Frederik Hendrik]] continued to purchase paintings from Rembrandt.<!--until 1646--><ref>Slive, pp. 60, 65</ref>

At the end of 1631, Rembrandt moved to Amsterdam, a city rapidly expanding as the business and trade capital. He began to practice as a professional portraitist for the first time, with great success. He initially stayed with an art dealer, [[Hendrick van Uylenburgh]], and in 1634, married Hendrick's cousin, [[Saskia van Uylenburgh]].<ref>Slive, pp. 60–61</ref><ref>{{Cite web |title=Netherlands, Noord-Holland Province, Church Records, 1553–1909 Image Netherlands, Noord-Holland Province, Church Records, 1553–1909; pal:/MM9.3.1/TH-1971-31164-16374-68 |url=https://familysearch.org/pal:/MM9.3.1/TH-1971-31164-16374-68?cc=2037985&wc=M994-WQZ:3938509 |access-date=7 April 2014 |publisher=Familysearch.org |archive-date=5 June 2016 |archive-url=https://web.archive.org/web/20160605150618/https://familysearch.org/pal:/MM9.3.1/TH-1971-31164-16374-68?cc=2037985&wc=M994-WQZ:3938509 |url-status=live }}</ref> Saskia came from a respected family: her father [[Rombertus van Uylenburgh|Rombertus]] was a lawyer and had been ''[[burgomaster]]'' (mayor) of Leeuwarden. <!--When Saskia, he youngest daughter, became an orphan, she lived with an older sister in [[Het Bildt]].--> The couple married in the local church of [[St. Annaparochie|St.&nbsp;Annaparochie]] without the presence of Rembrandt's relatives.<ref>[https://archive.today/20120526210656/http://stadsarchief.amsterdam.nl/english/amsterdam_treasures/famous/rembrandt_and_saskia/index.en.html Registration of the banns of Rembrandt and Saskia], kept at the Amsterdam City Archives</ref> In the same year, Rembrandt became a [[poorter|citizen]] of Amsterdam and a member of the local [[guild of painters]]. He also acquired a number of students, among them [[Ferdinand Bol]] and [[Govert Flinck]].<ref name="Bull-28">Bull, et al., p. 28</ref> 

In 1635, Rembrandt and Saskia rented a fashionable lodging with a view of the river Amstel.<ref name="Rijksmuseum">{{Cite web|url=https://www.rijksmuseum.nl/en/collection/RP-T-1930-53/catalogue-entry|title=Rijksmuseum|website=Rijksmuseum}}</ref> In 1637, Rembrandt moved upriver to [[Vlooienburg]], in a building on the previous site of the current [[Stopera]].<ref>{{cite web | url=http://remdoc.huygens.knaw.nl/#/document/remdoc/e4458 | title=RemDoc }}</ref> In May 1639 they moved to a recently modernized house in the upscale [[Jodenbreestraat|'Breestraat']] with artists and art dealers; [[Nicolaes Pickenoy]], a portrait painter, was his neighbor. The [[mortgage loan|mortgage]] to finance the 13,000 [[guilder]] purchase would be a cause for later financial difficulties.{{Efn|Rembrandt promised the owner—a woman with mental problems—to pay a quarter of the purchase price within a year;<ref>{{Cite book|url=https://books.google.com/books?id=CQNGDwAAQBAJ&dq=christoffel+thijs+magdalena&pg=PA25|title=Vijftien strekkende meter: Nieuwe onderzoeksmogelijkheden in het archief van de Bibliotheca Thysiana|first1=Wim van|last1=Anrooij|first2=Paul|last2=Hoftijzer|date=28 June 2017|publisher=Uitgeverij Verloren|isbn=9789087046842 |via=Google Books}}</ref> the rest within five to six years. For some reason the purchase was not registered at the town hall and had to be renewed in 1653.<ref name="DBNL">{{Cite web|url=https://www.dbnl.org/tekst/_els001191901_01/_els001191901_01_0002.php|title=Rembrandt's boedelafstand door jhr. mr. J.F. Backer., Elseviers Geïllustreerd Maandschrift. Jaargang 29|website=DBNL}}</ref>}}<ref name=Bull-28/> The neighborhood sheltered many immigrants and was becoming the Jewish quarter. It was there that Rembrandt frequently sought his Jewish neighbors to model for his Old Testament scenes.<ref>Adams, p. 660</ref> 
<!--Rembrandt should easily have been able to pay the house off with his large income but it appears his spending always kept pace with his income, and  he may have made some unsuccessful investments.<ref>Clark, 1978, pp. 26–27, 76, 102</ref> -->One of the great patrons at the early stages of his career was Amsterdam statesman [[Andries de Graeff]].<ref>{{Cite web|url=http://www.triomfdervrede.nl/images/andries_de_graeff_20100113.pdf|title=Pieter C. Vis: Andries de Graeff (1611–1678) 't Gezagh is heerelyk: doch vol bekommeringen}}</ref><ref>{{Cite web|url=https://www.theleidencollection.com/artwork/portrait-of-andries-de-graeff/|title=Portrait of Andries de Graeff (1611–1678), Burgomaster of Amsterdam|website=The Leiden Collection}}</ref> 

Although they were by now affluent, the couple suffered several personal setbacks; three children died within weeks of their births.{{Efn|Their son Rombartus died two months after his birth <!--in 1635--> and their daughter Cornelia died at just three weeks of age. <!--in 1638. In 1640, they had--> A second daughter, also named Cornelia, died after living barely over a month.}}{{Efn|His children were christened in Dutch Reformed churches in Amsterdam: four in the [[Oude Kerk, Amsterdam|Old Church]] and Titus, in the [[Zuiderkerk|Southern Church]].<ref>{{Cite web |title=Doopregisters, Zoek |url=https://archief.amsterdam/indexen/persons?sa=%7B%22person_1%22:%7B%22search_t_geslachtsnaam%22:%22r*n%22,%22search_t_tussenvoegsel%22:%22van%20%22,%22search_t_voornaam%22:%22remb*%22%7D,%22search_s_register_type_title%22:%5B%22DTB%20Dopen%22%5D%7D&sort=%7B%22order_i_datum%22:%22asc%22%7DD |access-date=7 March 2023 |publisher=Amsterdam City Archive |language=nl}}</ref>}} Only their fourth child, [[Titus van Rijn|Titus]], who was born in 1641, survived into adulthood.  Saskia died in 1642, probably from [[tuberculosis]]. Rembrandt's drawings of her on her sick and death bed are among his most moving works.<ref name="Slive-71">Slive, p. 71</ref><ref name="Rijksmuseum"/> <!--and delivered [[David and Jonathan (Rembrandt)|David and Jonathan]].--> After Saskia's illness, the widow [[Geertje Dircx]] was hired as Titus' caretaker and dry nurse; at some time, she also became Rembrandt's lover. In May 1649 she left and charged Rembrandt with [[breach of promise]] <!--(a [[euphemism]] for seduction under [breached] promise to marry)--> and asked to be awarded [[alimony]].<ref name=Bull-28/> Rembrandt tried to settle the matter amicably, but to pay her lawyer she pawned the diamond ring he had given her that once belonged to Saskia. On 14 October they came to an agreement; the court particularly stated that Rembrandt had to pay a yearly maintenance allowance, provided that Titus remained her only heir and she sold none of Rembrandt's possessions.<ref>{{Cite web|url=https://archief.amsterdam/indexen/persons?f=%7B%22search_i_datum%22:%7B%22v%22:%5B%2216360000%22,%2216979999%22%5D,%22d%22:%221636+-+1697%22%7D%7D&ss=%7B%22q%22:%22+%22%7D&sa=%7B%22person_1%22:%7B%22search_t_voornaam%22:%22geer*%22%7D,%22person_2%22:%7B%22search_t_voornaam%22:%22rembr*%22%7D%7D&sort=%7B%22order_i_datum%22:%22asc%22%7D|title=Indexen|website=archief.amsterdam}}</ref><ref>{{Cite book|title=Rembrandt's bankruptcy: the artist, his patrons, and the art market in seventeenth-century Nederlands|last=Crenshaw|first=Paul|date=2006|publisher=University Press|isbn=978-0521858250|location=Cambridge|language=English|oclc=902528433}}</ref> <!--He produced almost no paintings or portraits, only etches.-->As Dircx broke her promise, she was committed to a women's house of correction at [[Gouda, South Holland|Gouda]] in August 1650.<ref>{{Cite web|url=https://resources.huygens.knaw.nl/vrouwenlexicon/lemmata/data/Dircks|title=Dircks, Geertje (ca. 1610-1656?) |website=Resources Huygens ING }}</ref> Rembrandt paid for the costs.<ref>C. Driessen, pp. 151–157</ref>{{Efn|Five years later he didn't support her release without the presence of her brother, a sailor. <!--On 8--> In August 1656 Geertghe Dircx was listed as one of Rembrandt's seven major creditors.}}

In early 1649, Rembrandt began a relationship with the 23-year-old [[Hendrickje Stoffels]], who had initially been his maid. She may have been the cause of Geertje's leaving. In that year he made no (dated) paintings or etchings at all.<ref>Gary Schwartz (1987) Rembrandt. Zijn leven, zijn schilderijen, p. 248.</ref> In 1654 Rembrandt produced a controversial nude [[Bathsheba at Her Bath (Rembrandt)|Bathsheba at Her Bath]]. In June Hendrickje received three summonses from the Reformed Church to answer the charge "that she had committed the acts of a whore with Rembrandt the painter". In July she admitted her guilt and was banned from receiving [[eucharist|communion]].<ref>G. Schwartz, pp. 292–293</ref> Rembrandt was not summoned to appear for the Church council.<ref>Slive, p. 82</ref> In October they had a daughter, Cornelia.<!--The two were considered legally wed under common law?--> Had he remarried he would have lost access to a trust set up for Titus in Saskia's will.<ref name=Slive-71/>

===Insolvency===
[[File:Rembrandt van Rijn - Rembrandts zoon Titus in monniksdracht (Rijksmuseum Amsterdam).jpg|thumb|upright=1|Rembrandt's son [[Titus van Rijn|Titus]] painted [[Titus as a Monk|as a Franciscan monk]] (1660)]]
[[File:Stadsarchief Amsterdam, Afb ANWO00139000001.jpg|thumb|Rembrandt moved to Rozengracht 184, Stadsarchief Amsterdam]] [[File:Rembrandt-Civilis-recto-1.jpg|thumb|Sketch ''The Conspiracy of Claudius Civilis'', October 1661 or later]]

Rembrandt, despite his artistic success, found himself in financial turmoil. His penchant for acquiring art, prints, and rare items led him to live beyond his means. In January 1653 the sale of the property formally was finalized but Rembrandt still had to cover half of the remaining mortgage. Creditors began pressing for [[hire purchase|installments]] but Rembrandt, facing financial strain, sought a postponement. The <!--wall of the--> house required repairs prompting Rembrandt to borrow money from friends, including [[Jan Six]].<ref>{{Cite web |title=Rembrandt |url=https://voetnoot.org/tag/rembrandt/ |website=Voetnoot.org}}</ref>{{Efn|Quite a few people were in debt after the [[First Anglo-Dutch War]].<ref>Dehing, P. (2012). Geld in Amsterdam. Wisselbank en wisselkoersen, 1650–1725. [Universiteit van Amsterdam], p. 142</ref> The Dutch were driven from [[Dutch Brazil|Brazil]] too; the 'Brazilian Adventure' cost the Dutch merchant community dearly.<ref>Professor P. C. Emmer, review of The Rise of Commercial Empires England and the Netherlands in the Age of Mercantilism, 1650–1770, (review no. 345) https://reviews.history.ac.uk/review/345 Date accessed: 26 March 2023</ref> }} 

In November 1655, amid a year overshadowed by [[Plague (disease)|plague]] and the drafting of wills, Rembrandt's 14-year-old son Titus took a significant step by drafting a will that designated his father as the sole heir, effectively sidelining his mother's family.<ref>Wexuan, Li. [https://oudholland.rkd.nl/index.php/reviews/32-review-of-machiel-bosman-rembrandts-plan-de-ware-geschiedenis-van-zijn-faillissement "Review of: 'Rembrandts plan: De ware geschiedenis van zijn faillissement"], ''Oud Holland Reviews'', April 2020.</ref><ref>Broos, B. (1999) Das Leben Rembrandts van Rijn (1606–1669). In: Rembrandt Selbstbildnisse, p. 79.</ref> In December Rembrandt orchestrated a sale of his paintings, yet the earnings failed to meet expectations.<ref name="Geschiedenis">{{cite web | url=https://geschiedenismagazine.nl/drie-vragen-aan-machiel-bosman | title=Drie vragen aan Machiel Bosman &#124; Rembrandts plan &#124; Faillissement Rembrandt van Rijn }}</ref> This tumultuous period deeply impacted the art industry, prompting Rembrandt to seek a high court arrangement known as [[cessio bonorum]].<ref>[https://www.aup-online.com/content/journals/10.5117/PM2019.1.004.VELD C.M. in ’t Veld (2019) Rembrandts boedelafstand: een institutionele en politieke benadering]</ref> <!--He was banned from [[Holy Communion]] in February 1656, according to Bosman, hoofdstuk 13, noot 235--> Despite the financial difficulties, Rembrandt's bankruptcy wasn't forced.<!--rather, he seemed to have orchestrated it; possibly to create room for marriage to his beloved Hendrickje.--><ref name="Geschiedenis"/><ref>Wexuan, Li. [https://oudholland.rkd.nl/index.php/reviews/32-review-of-machiel-bosman-rembrandts-plan-de-ware-geschiedenis-van-zijn-faillissement "Review of: 'Rembrandts plan: De ware geschiedenis van zijn faillissement"], ''Oud Holland Reviews'', April 2020.</ref> In July 1656, he declared his [[insolvency]], taking stock and willingly surrendered his assets.<ref name="Bosman">M. Bosman (2019) Rembrandts plan. De ware geschiedenis van zijn faillissement</ref> Notably, he had already transferred the house to his son.<ref name="DBNL"/> <!--An inventory was made 25, and 26 July. On 8 August the city agreed with the seven principle creditors; Titus came under guardianship.--> Both the authorities and his creditors showed leniency, granting him ample time to settle his debts. [[Jacob J. Hinlopen#Jacob J. Hinlopen, son|Jacob J. Hinlopen]] obviously played a role.<ref>Crenshaw, P. (2006) Rembrandt's Bankruptcy. The artist, his patrons and the art market in seventeenth-century Netherlands, pp. 61, 76.</ref>

In November 1657 another auction was held to sell his paintings, as well as a substantial number of etching plates and drawings, some by renowned artists such as [[Raphael]], [[Andrea Mantegna|Mantegna]] and [[Giorgione]].{{Efn|[[Jan van de Capelle]] bought 500 of the drawings/prints by [[Lucas van Leyden]], [[Hercules Seghers]] and [[Goltzius]] among others.}} Remarkably, Rembrandt was permitted to retain his tools <!--including his etching press?--> as a means of generating income.<ref name="DBNL"/>  Rembrandt lost the guardianship of his son and thus control over his actions. A new guardian, Louis Crayers, claimed the house in settlement of Titus’s debt.<ref>{{Cite journal|url=https://zenodo.org/records/5152798/files/A83(2021)Rembrandt'sInsolvency.pdf|archiveurl=|url-status=|title=Rembrandt's insolvency: The artist as legal actor|first1=Dave De|last1=Ruysscher|first2=Cornelis In ’T|last2=Veld|date=26 April 2021|archivedate=|journal=Oud Holland – Journal for Art of the Low Countries|volume=134|issue=1|pages=9–24|via=brill.com|doi=10.1163/18750176-13401002|s2cid=236619973 }}</ref>

The sale list comprising 363 items offers insight into Rembrandt's diverse collections, which, encompassed [[Old Master]] paintings, drawings, [[Roman emperors]] busts, [[Greek philosophers]] statues, books (a bible), two [[globes]], bonnets, [[armor]], and various objects from Asia ([[chinaware]]), as well as a collections of [[natural history]] specimens (two lion skins, a [[bird-of-paradise]], [[corals]] and minerals).<ref>Schwartz (1984), pp. 288–291</ref> Unfortunately, the prices realized in the sale were disappointing.<ref>Slive, p. 84</ref> 

By February 1658, Rembrandt' house was sold at a [[foreclosure]] auction, and the family moved to more modest lodgings at [[Rozengracht]].<ref>{{Cite web|url=https://archief.amsterdam/inventarissen/details/10009|title=Inventarissen|website=archief.amsterdam}}</ref> <!--Hendrickje complained at the authorities as she left an oak cupboard.<ref>{{Cite book|url=https://books.google.com/books?id=7Lu8BAAAQBAJ&dq=Crayers+Titus+Rembrandt&pg=PA342|title=A Corpus of Rembrandt Paintings IV: Self-Portraits|first=Ernst van de|last=Wetering|date=19 July 2010|publisher=Springer Science & Business Media|isbn=9781402044410 |via=Google Books}}</ref> Rembrandt could not sell anything without their knowledge.--> In 1660, he finished ''[[Ahasuerus and Haman at the feast of Esther]]'' which he  sold to [[Jan J. Hinlopen]].<ref>Dudok van Heel, S.A.C. (1969) De Rembrandt's in de verzamelingen Hinlopen. In: Maandblad Amstelodamum, pp. 233-237. (In Dutch.)</ref> Early December 1660, the sale of the house was finalized but the proceeds went directly to Titus' guardian.<ref>{{Cite web|url=https://archief.amsterdam/inventarissen/details/5061/path/2.6.4.8|title=Inventarissen|website=archief.amsterdam}}</ref><ref>Wexuan, Li. [https://oudholland.rkd.nl/index.php/reviews/32-review-of-machiel-bosman-rembrandts-plan-de-ware-geschiedenis-van-zijn-faillissement "Review of: 'Rembrandts plan: De ware geschiedenis van zijn faillissement"], ''Oud Holland Reviews'', April 2020.</ref> 

Two weeks later, Hendrickje and Titus established a [[dummy corporation]] as art dealers, allowing Rembrandt, who had [[room and board|board and lodging]], to continue his artistic pursuits.<ref>Clark, 1974 p. 105</ref><ref>{{Cite web|url=https://www.amsterdam.nl/stadsarchief/nieuws/rembrandt-0/|title=De geldzaken van Rembrandt - Stadsarchief Amsterdam}}</ref>  In 1661, they secured a contract for a major project at the newly completed [[Royal Palace (Amsterdam)|town hall]]. The resulting work, ''[[The Conspiracy of Claudius Civilis]]'', was rejected by [[list of mayors of Amsterdam#17th century|the mayors]] and returned to the painter within a few weeks; the surviving fragment (in Stockholm) is only a quarter of the original.<ref>Clark 1974, pp. 60–61</ref> <!--It is possible Rembrandt was never paid and therefore sold the grave of [[Saskia van Uylenburgh|Saskia]].<ref>Crenshaw, P. (2006) Rembrandt's Bankruptcy. The artist, his patrons and the art market in seventeenth-century Netherlands, p. 85.</ref>--> 

Despite these setbacks, Rembrandt continued to receive significant portrait commissions and completed notable works, such as the [[Sampling Officials]] in 1662.<ref>Bull, et al., p. 29.</ref> <!--Around this time Rembrandt took on his last apprentice, [[Aert de Gelder]].--> It remains a challenge to gauge Rembrandt's wealth accurately<!-- when Saskia died. It was told he possessed gold, pearls and diamonds in the past.--> as he may have overestimated the value of his art collection.<ref name="Bosman"/>  Nonetheless, half of his assets were earmarked for Titus' inheritance.<ref>[[Jan Veth]] (1906) [https://www.dbnl.org/tekst/_gid001190601_01/_gid001190601_01_0060.php Rembrandt's verwarde zaken DBNL]</ref> 

In March 1663, with Hendrickje's illness, Titus assumed a more prominent role. Isaac van Hertsbeeck, Rembrandt's primary creditor, went to the [[Hof van Holland|High Court]] and contested Titus' priority for payment, leading to legal battles that Titus ultimately won in 1665 when he came of age.<ref>{{Cite journal|url=https://zenodo.org/records/5152798/files/A83(2021)Rembrandt'sInsolvency.pdf|archiveurl=|url-status=|title=Rembrandt's insolvency: The artist as legal actor|first1=Dave De|last1=Ruysscher|first2=Cornelis In ’T|last2=Veld|date=26 April 2021|archivedate=|journal=Oud Holland – Journal for Art of the Low Countries|volume=134|issue=1|pages=9–24|via=brill.com|doi=10.1163/18750176-13401002|s2cid=236619973 }}</ref><!--He lost more than once and had to pay the legal costs and the money he had already received to Titus in 1665 who was by then declared [[of age]].--><ref>{{Cite book|url=https://books.google.com/books?id=aIuiMMq96_gC&q=1665&pg=PA90|title=Hof van Holland, Zeeland en West-Friesland: de hoofdlijnen van het procederen in civiele zaken voor het Hof van Holland, Zeeland en West-Friesland zowel in eerste instantie als in hoger beroep|first1=M.-Ch le|last1=Bailly|first2=Maria Charlotte Le|last2=Bailly|date=28 June 2008|publisher=Uitgeverij Verloren|isbn=978-9087040567 |via=Google Books}}</ref><ref>Wexuan, Li. [https://oudholland.rkd.nl/index.php/reviews/32-review-of-machiel-bosman-rembrandts-plan-de-ware-geschiedenis-van-zijn-faillissement "Review of: 'Rembrandts plan: De ware geschiedenis van zijn faillissement"], ''Oud Holland Reviews'', April 2020.</ref> During this time, Rembrandt worked on notable pieces like [[the Jewish Bride]] and his final self-portraits but struggled with rent arrears.<ref>{{Cite web|url=http://www.garyschwartzarthistorian.nl/380-whitewashing-rembrandt-part-2/|title=380 Whitewashing Rembrandt, part 2 – Gary Schwartz Art Historian|date=1 March 2020}}</ref> Notably, [[Cosimo III de' Medici, Grand Duke of Tuscany|Cosimo&nbsp;III de' Medici, Grand Duke of Tuscany]], visited Rembrandt twice, and returned to Florence with one of the self-portraits.<ref>Clark 1978, p. 34</ref>

Rembrandt outlived both [[Hendrickje Stoffels|Hendrickje]] and Titus; <!--died in September 1668, leaving a pregnant widow behind. Tia was baptized on 22/3/1669!--> he died on Friday [[4 October]] 1669 and was buried four days later in a rented grave in the [[Westerkerk#Rembrandt|Westerkerk]]. His heirs paid a substantial amount of money, suggesting his relative wealth at the time.<ref>[https://archive.today/20120526210656/http://stadsarchief.amsterdam.nl/english/amsterdam_treasures/death/rembrandt/index.en.html Burial register of the Westerkerk with record of Rembrandt's burial], kept at the Amsterdam City Archives</ref>  <!--His daughter-in-law died/buried on 22-10-1669.--> His [[illegitimate child]], Cornelia (1654–1684), eventually moved to [[Old Batavia|Batavia]] in 1670 accompanied by an obscure painter <!--Cornelis Suythof--> and her mother's inheritance.<ref>{{cite web | url=https://www.vondel.humanities.uva.nl/ecartico/persons/8528 | title=Cornelia van Rijn }}</ref> Titus' considerable inheritance <!--of 12,000 guilders-->passed to his only child, Titia (1669-1715) who married her cousin and lived at [[Blauwburgwal]].<ref>Dudok van Heel, S.A.C. (1987) Dossier Rembrandt, pp. 86–88</ref> In summary, Rembrandt's life was marked by more than just artistic achievements; he navigated numerous legal and financial challenges, leaving a complex legacy.<ref>{{Cite web|url=https://www.universiteitleiden.nl/en/news/2021/11/rembrandt-made-a-mess-of-his-legal-and-financial-life|title=Rembrandt made a mess of his legal and financial life|date=16 November 2021|website=Leiden University}}</ref> Rembrandt did have a tendency to push the legal limits.”<ref>[https://www.vub.be/en/news/rembrandts-insolvency-no-preconceived-plan-but-smart-entr Rembrandt’s insolvency: No preconceived plan, but smart entrepreneurship. VUB, 2021]
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