Rembrandt's Mughal drawings

Last updated May 03, 2023

Shah Jahan (Mughal Emperor) by Rembrandt van Rijn, c. 1656-1661

Jujhar Singh Bundela Kneels in Submission to Shah Jahan by Bichitra, c. 1630

A Rembrandt Drawing Inspired by a Mughal Miniature

In his late career in the 1650s, the Dutch artist Rembrandt created drawings that were inspired by miniatures from Mughal India. This was the only time the artist engaged with the artistic style of a "dramatically foreign culture".^[1] They depict Mughal emperors, noblemen, courtiers, and sometimes women and common folk. They were executed on expensive Asian or Japanese paper, and only 23 drawings survive today.

The early-1600s witnessed a growth in trade between Mughal India and the Dutch East India Company, and many artists, including Rembrandt, were exposed to Indian objects and works of art for the first time. Rembrandt's Mughal drawings were a result of this cultural exchange that occurred due to global trade.^[2]

The drawings are not strictly copies of Mughal paintings, and it is not known whether they were intended for personal use or were commissions. This departure in his oeuvre has been interpreted as Rembrandt's way of reinventing himself as an artist during a low point in his late career, when he faced bankruptcy. In 2005, Dr. Marian Bisanz-Prakken of Albertina wrote: "It is supposed that Rembrandt's creative examination of the Mughal miniatures may have exerted some influence on the pen and wash style of his late drawings."^[3]

History and context

Once the Dutch East India Company was established in 1602, Amsterdam witnessed the growth of an international market where goods from across the world were traded. Rembrandt benefitted from this global exposure that enabled him to buy "drawings and prints from the principal masters of the whole world". His inventory included Chinese, Turkish and Mughal Indian artefacts. The latter was the inspiration for his late-career Mughal drawings, which marked a significant departure from his usual style and subjects.^[4]^[5]

In 1656, following Rembrandt's bankruptcy, an inventory of his possessions showed that he owned an album of "curious miniature drawings", which are believed to be Indian Mughal miniatures. Stephanie Schrader, who curated Rembrandt and the Inspiration of India and has extensively studied the drawings, states that Rembrandt's creation of these drawings at this low point in his career could have been a way of re-establishing himself as an artist who is aware of prevailing international styles.^[6]

The first public record comes from a 1747 sale catalogue of Jonathan Richardson that states: "A book of Indian Drawings, by Rembrandt, 25 in number." Rembrandt is believed to have made many drawings after contemporary Indian paintings and miniatures, but only 23 survive today. The exact sources for the drawings are not known. Whether these were commissioned or meant for personal use is not verifiable either.^[3]

Style and technique

Rembrandt's drawings were not strict imitations of Mughal works. Although Indian miniatures were executed in rich colours, Rembrandt's drawings take a more restrained approach, focusing more on the shape of the figures and their "exotic" facial features and attire. He also introduced perspective and shading, elements not found in Mughal miniatures. Unlike the miniatures, which were often in profile, the drawings convey a sense of movement and make apparent the distribution of body weight.^[6]

While most of the drawings depict Indian royalty or noblemen, a few represent the common people or women.^[7] All drawings are made on 'Asian paper', which was then imported by the Dutch East India Company and highly prized. Rembrandt's use of expensive paper has been interpreted as him holding the subject matter in high regard.^[6]

List of 23 extant drawings

No.	Image	Title	Year	Technique	Dimensions	Gallery
1		Emperor Akbar and his Son Selim in Apotheosis	c. 1656	Pen and brown ink, brown wash and white gouache on Japan paper	Height: 21.2 cm (8.3 in); Width: 17.4 cm (6.8 in)	Museum Boijmans Van Beuningen, Netherlands
2		A Mughal nobleman on horseback	c. 1656-61	Pen and brown ink with brown and grey wash, touched with red and yellow chalk and white heightening and with some scraping-out, on oriental paper; the lance drawn with a ruler.	Height: 205 mm (8.07 in); Width: 177 mm (6.96 in)	British Museum, England
3		A Deccani nobleman standing	c. 1656-61	Pen and brown ink with grey and brown wash and scraping-out on oriental paper prepared with pale brown wash.	Height: 196 millimetres; Width: 158 millimetres	British Museum, England
4		A Medallion Portrait of Muhammad Adil Shah of Bijapur, Rembrandt	c. 1656-61	Pen, Brown Ink, And Brown Wash On Japan Paper	Height: 97mm; Width: 76mm	Fine Arts Museum of San Francisco, United States
5		A Mughal Nobleman standing (Prince Daniyal)	c. 1656-61	Pen and brown ink with grey and brown wash, touched with red chalk (in the turban) and white heightening, on Asian paper	Height: 184 millimetres; Width: 112 millimetres	British Museum, England
6		Four Mullahs Seated under a Tree	c. 1656-61	Pen and brown ink with brown and grey wash, touched with white and with some scraping-out, on Asian paper prepared with pale brown wash	Height: 194 millimetres; Width: 124 millimetres	British Museum, England
7		Indian archer	c. 1656-58	Pen and brown ink, with brown, grey, and light brown wash and opaque white, on Japanese paper toned with light brown wash; later additions in pen and brown ink; framing line in grey ink	, h: 188mm × w: 131mm	Rijksmuseum
8		Indian Ruler (Shah Shuja')	c. 1656-61	Brown ink and brown wash on Asian paper toned with light brown wash	Height: 23 cm; Width: 18 cm	Albertina Museum, Austria
9		Indian Warrior with a Shield	c. 1654-56	Pen and brown ink and wash, with red chalk wash, black chalk and scraping (correction), on Japanese paper	Height: 178; Width: 100 mm	Morgan Library & Museum, United States
10		Portrait of Aurangzeb	c. 1655	Brown ink, brown wash, black chalk and white opaque watercolor on Asian paper; later additions in gray wash and scratchwork, framing line in brown ink, mounted overall	Height: 18 cm; Width: 7.3 cm	Harvard Art Museums, United States
11		Portrait of Jahangir	c. 1656-58	Pen and brown ink, with brown, pink, and grey wash, on Japanese paper toned with light brown wash; framing line in brown ink	Height: 183 mm; Width: 120 mm	Rijksmuseum, Netherlands
12		Portrait of Shah Jahan	c. 1656-68	Pen and brown ink, with brown wash and opaque white, on Japanese paper toned with light brown wash	Height: 69 mm; Width: 71 mm	Rijksmuseum, Netherlands
13		An Indian Lady	c. 1656	Pen and brown ink on paper	Height: 7.9 cm (3.1 in); Width: 7.2 cm (2.8 in)	Museum Boijmans Van Beuningen, Netherlands
14		Shah Jahan and Dara Shikoh	c. 1656-61	Brown ink and gray wash with scratchwork on Japanese paper prepared with pale brown wash	Height:21.3 cm; Width: 17.8 cm	J. Paul Getty Museum, United States
15		Shah Jahan and his Son	c. 1656-58	pen and brown ink, with brown wash, on Japanese paper toned with light brown wash	h 94 mm × w 86 mm	Rijksmuseum, Netherlands
16		Shah Jahan	c. 1656-61	Pen and brown ink and brush and brown wash	Height: 22.5; Width: 17.1 cm	Cleveland Museum of Art, United States
17		Shah Jahan, Standing with a Flower and a Sword	c. 1656-61	Pen and brown ink with brown wash on Asiatic paper	Height: 17.8 cm; Width: 10.1 cm	Fondation Custodia, France
18		Two Indian Noblemen	c. 1654-56	Pen and brown ink and wash, with red chalk wash, yellow watercolor, white opaque watercolor, black chalk and scraping on Japanese paper	Height: 191 mm; Width: 234 mm	Morgan Library & Museum, United States
19		Two Mughal noblemen (Shah Jahan and Dara Shikoh)	c. 1656-61	Pen and brown ink with brown and grey wash, touched with white and with scraping-out, on Asian paper prepared with pale brown wash	Height: 172 mm; Width: 214 mm	British Museum, England
20	Image required (Private collection)	Two Heads of Women after an Indian Painting	c. 1656-61	Brown ink and brown wash on Asian paper	Height: 6.8 cm; Width: 9.4 cm	Nicolas Joly Art Conseil, Paris
21		Emperor Jahāngīr receiving an Officer	c. 1656-61	Pen and brown ink, with brown and grey wash, touched with white, on oriental paper	Height: 210 mm; Width: 184 mm	British Museum, England
22		Emperor Timur on his throne, after an Indian miniature	c. 1656-61	Pen and ink on oriental paper	Height: 186 mm; Width: 187 mm	Musee du Louvre, France

Notes

The information on the extant drawings are sourced from the exhibition catalogue of Rembrandt and the Inspiration of India, J. Paul Getty Museum.

↑ Timothy Potts, director of J. Paul Getty Museum, writing in the exhibition catalogue of Rembrandt and the Inspiration of India, Foreword, p. vii: "These drawings mark a striking diversion for this quintessentially Dutch "Golden Age artist, the only time he confronted and engaged with the art of a dramatically foreign culture."
↑ Schrader, Stephanie; et al. (eds.): Rembrandt and the Inspiration of India . (Los Angeles, CA: J. Paul Getty Museum, 2018) ISBN 978-1-60606-552-5
1 2 Bisanz-Prakken 2005 , p. 100
↑ "In Paintings: Rembrandt & his Mughal India Inspiration". 2017-09-03. Retrieved 12 May 2018.
↑ Ganz, James (2013). Rembrandt's Century. San Francisco, CA: Fine Arts Museum of San Francisco. p. 45. ISBN 9783791352244.
1 2 3 "Rembrandt and the Mughals". 29 March 2018.
↑ "Rembrandt and the Inspiration of India (catalogue)" (PDF). Retrieved 18 October 2019.

Bibliography

Bisanz-Prakken, Marian (2005). Rembrandt and His Time: Masterworks from the Albertina, Vienna. Los Angeles: Hudson Hills. ISBN 978-1555952570.
Filipczak, Zirka Z. (2007). "Rembrandt and the Body Language of Mughal Miniatures". Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek. 58 (1): 162–187. doi:10.1163/22145966-90000746.
Robinson, William (2018). Rembrandt's "Indian Drawings" and His Later Work. New York: Morgan Library & Museum.
Schrader, Stephanie, ed. (2018). Rembrandt and the Inspiration of India. Los Angeles: J. Paul Getty Museum. ISBN 978-1-60606-552-5.

Related Research Articles

Willem van de Velde the Younger was a Dutch marine painter, the son of Willem van de Velde the Elder, who also specialised in maritime art. His brother, Adriaen van de Velde, was a landscape painter.

<span class="mw-page-title-main">Miniature (illuminated manuscript)</span> Picture in an ancient or medieval illuminated manuscript

A miniature is a small illustration used to decorate an ancient or medieval illuminated manuscript; the simple illustrations of the early codices having been miniated or delineated with that pigment. The generally small scale of such medieval pictures has led to etymological confusion with minuteness and to its application to small paintings, especially portrait miniatures, which did however grow from the same tradition and at least initially used similar techniques.

Simon de Vlieger was a Dutch painter, draughtsman and designer of tapestries, etchings, stained glass windows. While he is mainly known for his marine paintings he also painted beach scenes, landscapes and genre scenes.

The Bengal School of Art, commonly referred as Bengal School, was an art movement and a style of Indian painting that originated in Bengal, primarily Kolkata and Shantiniketan, and flourished throughout the Indian subcontinent, during the British Raj in the early 20th century. Also known as 'Indian style of painting' in its early days, it was associated with Indian nationalism (swadeshi) and led by Abanindranath Tagore (1871–1951), but was also being promoted and supported by British arts administrators like E. B. Havell, the principal of the Government College of Art and Craft, Kolkata from 1896; eventually it led to the development of the modern Indian painting.

Mughal painting is a style of painting on paper confined to miniatures either as book illustrations or as single works to be kept in albums (muraqqa), from the territory of the Mughal Empire in South Asia. It emerged from Persian miniature painting and developed in the court of the Mughal Empire of the 16th to 18th centuries. Battles, legendary stories, hunting scenes, wildlife, royal life, mythology, as well as other subjects have all been frequently depicted in paintings.

Indian painting has a very long tradition and history in Indian art, though because of the climatic conditions very few early examples survive. The earliest Indian paintings were the rock paintings of prehistoric times, such as the petroglyphs found in places like the Bhimbetka rock shelters. Some of the Stone Age rock paintings found among the Bhimbetka rock shelters are approximately 10,000 years old.

Rembrandt Harmenszoon van Rijn, usually simply known as Rembrandt, was a Dutch Golden Age painter, printmaker and draughtsman. An innovative and prolific master in three media, he is generally considered one of the greatest visual artists in the history of art and the most important in Dutch art history. It is estimated Rembrandt produced a total of about three hundred paintings, three hundred etchings and two thousand drawings.

'Abd al-Ṣamad or Khwaja 'Abd-us-Ṣamad was a 16th century painter of Persian miniatures who moved to India and became one of the founding masters of the Mughal miniature tradition, and later the holder of a number of senior administrative roles. 'Abd's career under the Mughals, from about 1550 to 1595, is relatively well documented, and a number of paintings are authorised to him from this period. From about 1572 he headed the imperial workshop of the Emperor Akbar and "it was under his guidance that Mughal style came to maturity". It has recently been contended by a leading specialist, Barbara Brend, that Samad is the same person as Mirza Ali, a Persian artist whose documented career seems to end at the same time as Abd al-Samad appears working for the Mughals.

Company style, also known as Company painting or Patna painting is a term for a hybrid Indo-European style of paintings made in India by Indian artists, many of whom worked for European patrons in the East India Company or other foreign Companies in the 18th and 19th centuries. The style blended traditional elements from Rajput and Mughal painting with a more Western treatment of perspective, volume and recession. Most paintings were small, reflecting the Indian miniature tradition, but the natural history paintings of plants and birds were usually life size.

A Muraqqa is an album in book form containing Islamic miniature paintings and specimens of Islamic calligraphy, normally from several different sources, and perhaps other matter. The album was popular among collectors in the Islamic world, and by the later 16th century became the predominant format for miniature painting in the Persian Safavid, Mughal and Ottoman empires, greatly affecting the direction taken by the painting traditions of the Persian miniature, Ottoman miniature and Mughal miniature. The album largely replaced the full-scale illustrated manuscript of classics of Persian poetry, which had been the typical vehicle for the finest miniature painters up to that time. The great cost and delay of commissioning a top-quality example of such a work essentially restricted them to the ruler and a handful of other great figures, who usually had to maintain a whole workshop of calligraphers, artists and other craftsmen, with a librarian to manage the whole process.

Kangra painting is the pictorial art of Kangra, named after the Kangra State, a former princely state of Himachal Pradesh, which patronized the art. It became prevalent with the fading of Basohli school of painting in mid-18th century, and soon produced such a magnitude in paintings both in content as well as volume, that the Pahari painting school, came to be known as Kangra paintings.

Jacob Matham, of Haarlem, was a famous engraver and pen-draftsman.

Jan van de Velde the younger was a Dutch Golden Age painter and engraver of animal, landscape and still-life subjects. He was the son of Jan van de Velde the Elder and the father of the still life painter Jan Jansz van de Velde.

The illuminated manuscript Khamsa of Nizami British Library, Or. 12208 is a lavishly illustrated manuscript of the Khamsa or "five poems" of Nizami Ganjavi, a 12th-century Persian poet, which was created for the Mughal Emperor Akbar in the early 1590s by a number of artists and a single scribe working at the Mughal court, very probably in Akbar's new capital of Lahore in North India, now in Pakistan. Apart from the fine calligraphy of the Persian text, the manuscript is celebrated for over forty Mughal miniatures of the highest quality throughout the text; five of these are detached from the main manuscript and are in the Walters Art Museum, Baltimore as Walters Art Museum MS W.613. The manuscript has been described as "one of the finest examples of the Indo-Muslim arts of the book", and "one of the most perfect of the de luxe type of manuscripts made for Akbar".

Seymour Slive was an American art historian, who served as director of the Harvard Art Museums from 1975 to 1984. Slive was a scholar of Dutch art, specifically of the artists Rembrandt, Frans Hals, and Jacob van Ruisdael.

Rembrandt Harmenszoon van Rijn's The Abduction of Europa (1632) is one of his rare mythological subject paintings. The work is oil on a single oak panel and now located in the J. Paul Getty Museum. The inspiration for the painting is Ovid's Metamorphoses, part of which tells the tale of Zeus's seduction and capture of Europa. The painting shows a coastal scene with Europa being carried away in rough waters by a bull while her friends remain on shore with expressions of horror. Rembrandt combined his knowledge of classical literature with the interests of the patron in order to create this allegorical work. The use of an ancient myth to impart a contemporary thought and his portrayal of the scene using the High Baroque style are two strong aspects of the work.

Two Water Mills with an Open Sluice, also known as Two Watermills and an Open Sluice, Two Undershot Water Mills with an Open Sluice is a 1653 painting by the Dutch Golden Age painter Jacob van Ruisdael. It is in the collection of the Getty Museum in Los Angeles.

Landscape with a Windmill is an oil-on-panel painting executed by the Dutch artist Jacob van Ruisdael in 1646, early in his career. It is now in the Cleveland Museum of Art in Ohio. It had initially been loaned to them by the Mr and Mrs William H. Marlatt fund, who had bought it in 1967 from Kunsthandlung F. Kleinberger & Co, a New York art dealer, who had in turn bought it at the auction of the Cook collection at Christie's in London on 25 November 1966.

This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.

[1] Timothy Potts, director of J. Paul Getty Museum, writing in the exhibition catalogue of Rembrandt and the Inspiration of India, Foreword, p. vii: "These drawings mark a striking diversion for this quintessentially Dutch "Golden Age artist, the only time he confronted and engaged with the art of a dramatically foreign culture."

[2] Schrader, Stephanie; et al. (eds.): Rembrandt and the Inspiration of India . (Los Angeles, CA: J. Paul Getty Museum, 2018) ISBN 978-1-60606-552-5

[auto1-3] 1 2 Bisanz-Prakken 2005 , p. 100

[4] "In Paintings: Rembrandt & his Mughal India Inspiration". 2017-09-03. Retrieved 12 May 2018.

[5] Ganz, James (2013). Rembrandt's Century. San Francisco, CA: Fine Arts Museum of San Francisco. p. 45. ISBN 9783791352244.

[auto-6] 1 2 3 "Rembrandt and the Mughals". 29 March 2018.

[7] "Rembrandt and the Inspiration of India (catalogue)" (PDF). Retrieved 18 October 2019.

[1]

[2]

[3]

[4]

[5]

[6]

[7]

v t e Rembrandt
Lists of drawings, etchings, paintings, self-portraits
Paintings	The Senses (1624–25) The Stoning of Saint Stephen (1625) Suffer little children to come unto me (1620s) History Painting (1626) Balaam and the Ass (1626) The Baptism of the Eunuch (1626) Bust of a Man Wearing a Gorget and Plumed Beret (1626) Tobit and Anna with the Kid (c. 1626) The Flight into Egypt (1627) The Parable of the Rich Fool (1627) The Artist in his Studio (1628) Samson and Delilah (1629–30) Anna and the Blind Tobit (c. 1630) The Raising of Lazarus (c. 1630–1632) Andromeda Chained to the Rocks (1631) The Anatomy Lesson of Dr. Nicolaes Tulp (1631) Christ with a Staff (1631) Christ on the Cross (1631) Old Man with a Gold Chain (c. 1631) Philosopher in Meditation (1632) The Abduction of Europa (1632) Adoration of the Magi (1632–1633) The Shipbuilder and his Wife (1633) The Storm on the Sea of Galilee (1633) ² A Lady and Gentleman in Black (1633) Raising of the Cross (1633) Descent from the Cross (1633) Diana Bathing with her Nymphs with Actaeon and Callisto (1634) Flora (1634) Artemisia (1634) Pendant portraits of Maerten Soolmans and Oopjen Coppit (1634) Descent from the Cross (1634) Belshazzar's Feast (1635) Minerva (1635) The Prodigal Son in the Brothel (c. 1635) Raising of the Cross (study) (c. 1635) The Rape of Ganymede (1635) The Entombment of Christ (1635) Samson Threatening His Father-In-Law (1635) The Standard Bearer (1636) Danaë (1636) The Blinding of Samson (1636) Landscape with Arched Bridge (c. 1636-1637) The Preacher Eleazar Swalmius (1637) The Archangel Raphael Leaving Tobias' Family (1637) A Polish Nobleman (1637) The Stone Bridge (1637) The Wedding Feast of Samson (1638) Landscape with the Good Samaritan (1638) Still Life with Peacocks (c. 1639) The Girl in a Picture Frame (1641) The Night Watch (1642) Concord of the State (1642) David and Jonathan (1642) Boaz and Ruth (1643) The Woman Taken in Adultery (1644) Joseph's Dream (1645) The Holy Family with Angels (1645) The Mill (1645–1648) Abraham Serving the Three Angels (1646) Susanna and the Elders (1647) Head of Christ (1648) The Kitchen Maid (1651) Descent from the Cross (1650–1652) Saul and David (c. 1652) ¹ Aristotle with a Bust of Homer (1653) A Woman Bathing in a Stream (1654) Bathsheba at Her Bath (1654) The Polish Rider (1655) ¹ Slaughtered Ox (1655) Pallas Athene (c. 1655) The Anatomy Lesson of Dr. Deijman (1656) Jacob Blessing the Sons of Joseph (1656) Courtesan at her Mirror (1657) Saint Bartholomew (1657) Moses Breaking the Tablets of the Law (1659) Ahasuerus and Haman at the Feast of Esther (1660) The Denial of Saint Peter (1660) Titus as a Monk (1660) The Conspiracy of Claudius Civilis (1661) St. Matthew and the Angel (1661) Syndics of the Drapers' Guild (1662) Homer Dictating his Verses (1663) The Jewish Bride (1664) Lucretia (1664) ¹ David and Uriah (c. 1665) Young Woman with a Lapdog (1665) Lucretia (1666) The Return of the Prodigal Son (1662–1669) Landscape with a Castle
Portraits	Portrait of Nicolaes Ruts (1631) Portrait of a Man (1632) Portrait of a Woman (1632) Portrait of Jacob de Gheyn III (1632) Aeltje Pietersdr Uylenburgh (1632) Portrait of a Man Rising from His Chair (1633) Oval Portrait of a Woman (1633) Portrait of Marten Soolmans (1634) Portrait of Oopjen Coppit (1634) Portrait of Petronella Buys (1635) Portrait of Maria Trip (1639) Portrait of Jan Six (1654) Portrait of Catharina Hooghsaet (1657) Portrait of a Man (1657) Portrait of a Man with Arms Akimbo (1658) Portrait of Dirck van Os (c. 1662)
Self-portraits	Self-Portrait with Dishevelled Hair (1628) Rembrandt Laughing (1628) Self-Portrait (1629) Self-Portrait in a Gorget (c.1629) Portrait of a Young Man with a Golden Chain (1635) (disputed) Self-Portrait Wearing a White Feathered Bonnet (1635) Self-Portrait at the Age of 34 (1640) Self-Portrait (1652) Self-Portrait in a Black Beret and Gold Chain (1654) Self-Portrait (1658) Self-Portrait with Beret and Turned-Up Collar (1659) Self-Portrait (1660) Self-Portrait as the Apostle Paul (1662) Self-Portrait as Zeuxis Laughing (1662) Self-Portrait with Two Circles (1665–1669) Self-Portrait (c. 1669) Self-Portrait at the Age of 63 (1669)
Drawings and prints (including etchings)	Joseph and Potiphar's Wife (1634) The Artist and his Model (1639) The Death of the Virgin (1639) The Mill (1641) The Three Trees (1643) The State Bed (1646) Portrait of Jan Six (1647) Hundred Guilder Print (1647–1649) Conus Marmoreus (1650) Goldweigher's Field (1651) Doctor Fautrieus (1652) Descent from the Cross by Torchlight (1652) The Three Crosses (1653) The Virgin and Child with a Cat (1654) Christ Presented to the People (1655) Mughal drawings
General topics	Dutch Golden Age painting Dutch School (painting) Netherlandish art Netherlandish Baroque art Flemish Baroque art Art of the Dutch Golden Age Rembrandt lighting Tronie Surface tone Old master print Naturalism Utrecht Caravaggism Caravaggisti Chiaroscuro Etching revival
Rembrandt studies	Connoisseurs and scholars Rembrandt Research Project Rembrandt catalogues raisonnés 1908 1935 1968 1986
Related people	Pupils and followers Saskia van Uylenburgh (wife, model) Titus van Rijn (son, model) Geertje Dircx (mistress, model) Hendrickje Stoffels (mistress, model) Jacob Isaacsz. van Swanenburg (teacher) Pieter Lastman (teacher) Jan Lievens (colleague and friend) Hendrick van Uylenburgh (art dealer, patron) Jan Six (art collector, patron) Henry Clay Frick (art collector) Thomas Kaplan (art collector)
Notable collections and exhibitions	Rembrandt House Museum Rijksmuseum Amsterdam Mauritshuis Kupferstichkabinett Berlin British Museum Metropolitan Museum of Art Frick Collection Rembrandt in Southern California (2008 virtual exhibition)
Works about	Bibliography of Rembrandt Cultural depictions of Rembrandt Rembrandt (1936 film) Rembrandt (1940 film) Rembrandt (1942 film) Rembrandt: A Self-Portrait (1954 documentary film) Rembrandt fecit 1669 (1977 film) The Anatomy Lesson (1995 novel) Rembrandt (1999 film) Stealing Rembrandt (2003 film) Nightwatching (2007 film ) Rembrandt's J'Accuse (2008 documentary) I Am Rembrandt's Daughter (2008 novel) The Rembrandt Affair (2010 novel)
Named after	Rembrandt, Iowa Rembrandtplein Rembrandtpark Rembrandt (crater) Rembrandt (train)
¹ Contested ² Stolen in 1990