art.wikisort.org - Pintura

A continuación se presentan algunas de las obras artísticas del pintor holandés Rembrandt.

Obras

N	Imagen	Título	Año	Técnica	Dimensiones	Colección	Commentary
1		The Spectacles-pedlar (Sight)	1624	Oil on panel	21 x 17.8	Stedelijk Museum De Lakenhal, Leiden	Hypothetical; one of the series The Senses
2		The Three Singers (Hearing)	1624	Oil on panel	21.6 x 17.8	Leiden Collection	Hypothetical; one of the series The Senses
3		The Operation (Touch)	c. 1624	Oil on panel	21.5 x 17.7	Leiden Collection	Hypothetical; one of the series The Senses
3A		The Unconscious Patient (Smell)	c. 1624	Oil on panel	21.5 x 17.7	Leiden Collection	Hypothetical; one of the series The Senses
4		Christ Driving the Money-changers from the Temple	1626	Oil on panel	43.1 x 32	Pushkin Museum, Moscú
5		The Stoning of St. Stephen	1625	Oil on panel	89.5 x 123.6	Musée des beaux-arts de Lyon
6		Bust of a Man Wearing a Gorget and Plumed Beret	1626	Oil on panel	40 x 29.4	Private collection
7		History Painting	1626	Oil on panel	90 x 122	Stedelijk Museum De Lakenhal, Leiden	Subject still under discussion
8		David with the Head of Goliath before Saul	1626/1627	Oil on panel	27.2 x 39.6	Kunstmuseum Basel
9		The Baptism of the Eunuch	1626	Oil on panel	63.5 x 48	Museum Catharijneconvent, Utrecht	The abraded face of Philip has been unsatisfactorily retouched
10		Balaam and the Ass	1626	Oil on panel	63.2 x 46.5	Musée Cognacq-Jay, Paris
11		Musical Allegory	1626	Oil on panel	63.4 x 47.6	Rijksmuseum Amsterdam
12		Tobit Accusing Anna of Stealing the Kid	1626	Oil on panel	40.1 x 29.9	Rijksmuseum Amsterdam
13		The Flight into Egypt	1627	Oil on panel	27.5 x 24.7	Musée des Beaux-Arts de Tours
14		The Rich Man from the Parable	1627	Oil on panel	31.7 x 42.5	Gemäldegalerie, Berlin
15		The apostle Paul in Prison	1627	Oil on panel	72.8 x 60.2	Staatsgalerie Stuttgart	There are darkened overpaintings on both sides of the seams of the panel
16		Simeon in the Temple	1628	Oil on panel	55.4 x 43.7	Kunsthalle Hamburg	Mary’s cloak has been overpainted by another hand later; it was probably a lighter blue-grey in the original
17		The Foot Operation	1628	Oil on panel	31.8 x 24.4	Private collection
18		Rembrandt Laughing	1628	Oil on copper	22.2 x 17.1	J. Paul Getty Museum, Los Ángeles
19		Self-Portrait Study in the Mirror (the Human Skin)	1628	Oil on panel	42.8 x 33	Indianapolis Museum of Art
20		Lighting Study in the Mirror	c. 1628	Oil on panel	22.6 x 18.7	Rijksmuseum Amsterdam
21		Bust of a Man Wearing a Turban	c. 1628	Oil on panel	26.7 x 20.3	The Kremer collection
22		Interior with figures, called La main chaude	c. 1628	Oil on panel	21 x 27	National Gallery of Ireland, Dublin
23		Judas Repentant, Returning the Pieces of Silver	1629	Oil on panel	79 x 102.3	Private collection
24		The Painter in his Studio (‘Idea’)	c. 1628	Oil on panel	24.8 x 31.7	Museum of Fine Arts, Boston
25		The Supper at Emmaus	1629	Oil on panel	37.4 x 42.3	Musée Jacquemart-André, Paris
26		An Old Man Asleep by the Fire (perhaps typifying ‘Sloth’)	1629	Oil on panel	51.9 x 40.8	Sabauda Gallery, Turin
27		Two Old Men Disputing (St. Peter and St. Paul)	1628	Oil on panel	72.3 x 59.5	National Gallery of Victoria, Melbourne
28		The apostle Paul at his Writing Desk	c. 1629/1630	Oil on panel	47.2 x 38	Germanisches Nationalmuseum, Nuremberg	The painting is covered with a thick layer of yellowed varnish
29		Self-portrait with Plumed Beret	1629	Oil on panel	89.7 x 73.5	Isabella Stewart Gardner Museum, Boston
30		Self-portrait with a Gorget	c. 1629	Oil on panel	38.2 x 31	Germanisches Nationalmuseum, Nuremberg	The painting is covered by a layer of yellowed varnish and shows darkened retouches
31		Self-portrait Lit from the Left	1629	Oil on panel	15.5 x 12.7	Alte Pinakothek, Múnich
33		Self-portrait with Beret and Gathered Shirt (‘stilus mediocris’)	1630	Oil on copper	15 x 12.2	Nationalmuseum, Stockholm
34		Bust of an Old Woman at Prayer (‘stilus gravis’)	c. 1630	Oil on copper	15.5 x 12.2	Residenzgalerie, Salzburg
35		Laughing Soldier (‘stilus humilis’)	c. 1630	Oil on copper	15.3 x 12.2	Mauritshuis, The Hague
36		Bust of an Old Man	1630	Oil on panel	18.2 x 17.4	Private collection	Reduced to an oval form, subsequently made into a rectangle by additions
37		Samson Betrayed by Delilah	c. 1628–1630	Oil on panel	61.3 x 50.1	Gemäldegalerie, Berlin
38		David Playing the Harp for King Saul	c. 1630	Oil on panel	62 x 50	Städel, Fráncfort del Meno	The painting is poorly preserved in the thinner areas
39		Jeremiah Lamenting the Destruction of Jerusalem	1630	Oil on panel	58.3 x 46.6	Rijksmuseum Amsterdam
40		St. Peter in Prison	1631	Oil on panel	59.1 x 47.8	Israel Museum, Jerusalén
41		Andromeda Chained to the Rocks	c. 1630	Oil on panel	34.5 x 25	Mauritshuis, The Hague	The painting has been cropped on all sides
42		The Good Samaritan	1630	Oil on panel	24.2 x 19.8	Wallace Collection, Londres
43		Bust of an Old Man Wearing a Fur Cap	1629	Oil on panel	22.2 x 17.7	Tyrolean State Museum, Innsbruck
44		Oil Study of an Old Man	1630	Oil on panel	24.3 x 20.3	Agnes Etherington Art Centre, Kingston
45		Oil Study of an Old Man	c. 1630	Oil on panel	19.5 x 16	Statens Museum for Kunst, Copenhagen
46		Bust of an Old Man	c. 1630	Oil on panel	46.9 x 38.8	Mauritshuis, The Hague
47		Simeon in the Temple	1631	Oil on panel	60.9 x 47.9	Mauritshuis, The Hague
48		The Raising of Lazarus	c. 1630–1632	Oil on panel	96.2 x 81.5	Los Angeles County Museum of Art	The panel was originally taller
49		The Abduction of Proserpina	c. 1631	Oil on panel	84.8 x 79.7	Gemäldegalerie, Berlin	The panel, which was originally taller, must have been cropped at top and bottom. An ultramarine blue sky was discovered under a greyish overpainting and taken to be the original sky
50		The Abduction of Europa	1632	Oil on panel	62.2 x 77	J. Paul Getty Museum, Los Ángeles
51		An Old Woman Reading, probably the Prophetess Anna	1631	Oil on panel	59.8 x 47.7	Rijksmuseum Amsterdam
52		Christ on the Cross	1631	Oil, transferred from panel to canvas and then stuck on to panel	99.9 x 72.6	Parish Church, Le Mas d'Agenais
53		The Artist in an Oriental Costume, with a Poodle at his Feet	1631	Oil on panel	66.5 x 52	Petit Palais, París	The dog added in late 1632 or early 1633
54		Minerva in her Study	c. 1631	Oil on panel	60.5 x 49	Gemäldegalerie, Berlin
55		Bust of an Old Man with a Cap and Gold Chain	c. 1631	Oil on panel	59.9 x 51.1	Private collection
56		A Man Wearing a Gorget and Plumed Cap	c. 1631	Oil on panel	66 x 50.8	J. Paul Getty Museum, Los Ángeles
57		Bust of a Young Man Wearing a Plumed Cap	1631 – c. 1635	Oil on canvas	80.3 x 64.8	Toledo Museum of Art
58		Half-figure of a Man Wearing a Gorget and Plumed Hat	1631	Oil on panel	83.5 x 75.6	Art Institute of Chicago	The painting was originally 7 cm taller
59		Portrait of Nicolaes Ruts	1631	Oil on panel	116 x 87	Frick Collection, Nueva York
60		Portrait of a Man at a Writing Desk, possibly Jacob Bruyningh	1631	Oil on canvas	104.4 x 91.8	Hermitage Museum, Saint Petersburg	The painting originally seems to have been 9 cm taller
61		A Lady and Gentleman in Black	1632	Oil on canvas	131.5 x 109	Stolen from the Isabella Stewart Gardner Museum, Boston	The painting must have been substantially reduced on the left, now showing only part of the original composition; the chair on the left is probably a later addition, apparently intended to balance the composition on this side when the canvas was reduced
62a		Portrait of a Man	1632	Oil on panel	90.8 x 68.57	Kunsthistorisches Museum, Vienna	Companion piece to 62b
62b		Portrait of a Woman	1632	Oil on panel	90 x 68	Kunsthistorisches Museum, Vienna	Rembrandt and (mainly) workshop. Companion piece to 62a
63a		Portrait of a Man, probably a Member of the Van Beresteyn Family	1632	Oil on canvas	112 x 89	Metropolitan Museum of Art, Nueva York	Companion piece to 63b
63b		Portrait of a Woman, probably a Member of the Van Beresteyn Family	1632	Oil on canvas	112.5 x 88.8	Metropolitan Museum of Art, Nueva York	Rembrandt and (mainly) workshop. Companion piece to 63a. The woman’s left hand, which originally hung in a lower position, and the table on which it now rests, are probably executed by Rembrandt himself
64a		Portrait of a Man Trimming his Quill	1632	Oil on canvas	101.5 x 81.5	Schloss Wilhelmshöhe, Kassel	Companion piece to 64b
64b		Portrait of a Woman Seated	1632	Oil on canvas	92 x 71	Academy of Fine Arts Vienna	Rembrandt (and workshop?) Companion piece to 64a. The painting was cropped on all sides
65b		Portrait of Princess Amalia van Solms	1632	Oil on canvas	69.5 x 54.4	Musée Jacquemart-André, París	Companion piece to 65a: G. van Honthorst, Portrait of Prince Frederik Hendrik of Orange, 1631. The Hague, Huis ten Bosch (Dutch Royal Collection). The two paintings must originally have had identical surrounds. At a later stage 65b was cropped on all sides. The face has suffered from surface wear
66		Self-portrait as a Burger	1632	Oil on panel	64.4 x 47.6	Burrell Collection, Glasgow
67		Portrait of Maurits Huygens	1632	Oil on panel	31.1 x 24.5	Hamburger Kunsthalle
68		Portrait of Jacques de Gheyn III	1632	Oil on panel	29.9 x 24.9	Dulwich Picture Gallery, Londres
69		Self-portrait	1632	Oil on panel	21.8 x 16.3	property of M.C.A. since 2005 (Louis Reijtenbagh)
70		Portrait of Joris de Caullery	1632	Oil, canvas on panel	102.5 x 83.8	Fine Arts Museums of San Francisco
71		Portrait of a Young Man	1632	Oil on panel	63 x 46	Suermondt-Ludwig-Museum, Aachen
72		Portrait of Marten Looten	1632	Oil on panel	92.8 x 74.9	Los Angeles County Museum of Art
73		Portrait of a 40-year-old Man	1632	Oil on panel	75.6 x 52.1	Metropolitan Museum of Art, Nueva York
74		Portrait of a 39-year-old Woman	1632	Oil on panel	74.5 x 55	Nivaagaards Malerisamling	The hand and the booklet were added by another painter
75		Portrait of a 62-year-old Woman, possibly Aeltje Pietersdr Uylenburgh	1632	Oil on panel	73.5 x 55	Museum of Fine Arts, Boston
76		The Anatomy Lesson of Dr. Tulp	1632	Oil on canvas	169.5 x 216.5	Mauritshuis, The Hague
77a		Portraits of Jean Pellicorne and his Son Casper	1632	Oil on canvas	155 x 123	Wallace Collection, Londres	Rembrandt and (almost entirely) workshop. Companion piece to 77b
77b		Portraits of Susanna van Collen and her Daughter Anna	1632	Oil on canvas	153 x 121	Wallace Collection, Londres	Rembrandt and (in the main parts) workshop. Companion piece to 77a
78		Bust of a Young Woman	1632	Oil on panel	60.6 x 45	Leiden Collection
79		Bust of a Young Woman in a Cap	1632	Oil on canvas mounted on panel	60.6 x 45	Private collection	Originally rectangular and larger on all sides
80		Half-figure of a Young Woman in Profile with a Fan	1632	Oil on canvas	72.5 x 54.8	Nationalmuseum, Stockholm	Reduced on all sides
81		Bearded Old Man	1632	Oil on panel	66.5 x 51	Fogg Museum, Cambridge
82		Study of an Old Man with a Gold Chain	1632	Oil on panel	59 x 46.5	Schloss Wilhelmshöhe, Kassel
83		The Apostle Peter	1632	Oil on canvas	81.3 x 66.2	Nationalmuseum, Stockholm
84		Knee-length Figure of a Man in an Oriental Dress (‘The Noble Slav’)	1632	Oil on panel	152.7 x 111.1	Metropolitan Museum of Art, Nueva York
85		A Scholar Near a Window (a study in ‘kamerlicht’)	1631	Oil on panel	60.8 x 47.3	Nationalmuseum, Stockholm
86		Philosopher in Meditation	1632	Oil on panel	28.2 x 34.4	Musée du Louvre, París	The figure of a woman on the stairs is scarcely visible; possibly a pentimento
87a		Portrait of a Man	1638	Oil on panel	63.5 x 47.3	Herzog Anton Ulrich Museum, Braunschweig	Companion piece to 87b
87b		Portrait of a Woman	1638	Oil on panel	63 x 48	Herzog Anton Ulrich Museum, Braunschweig	Companion piece to 87a
88a		Portrait of a Man Rising from his Chair	1633	Oil on canvas	124 x 98.5	Taft Museum of Art, Cincinnati	Rembrandt and (perhaps) workshop. Companion piece to 88b
88b		Portrait of a Young Woman with a Fan	1633	Oil on canvas	126.2 x 100.5	Metropolitan Museum of Art, Nueva York	Companion piece to 88a
89		Portrait of Jan Rijcksen and his Wife Griet Jans	1633	Oil on canvas	111 x 166	Royal Collection
90		Portrait of Johannes Wtenbogaert	1633	Oil on canvas	123 x 105	Rijksmuseum Amsterdam	Rembrandt and workshop. The hands seem to be painted by a member of the workshop
91		Portrait of Man	1633	Oil on canvas	128.5 x 100.5	Schloss Wilhelmshöhe, Kassel	Rembrandt and/or workshop? Originally this portrait was probably full size
92		Portrait of a Man Wearing a Red Doublet	1633	Oil on panel	63.5 x 50.5	Leiden Collection
93		Portrait of a Young Woman	1633	Oil on panel	63.5 x 47.5	Museum of Fine Arts, Houston
94		Bust of Saskia Smiling	1633	Oil on panel	52.5 x 44	Staatliche Kunstsammlungen Dresden
95		Half-length Portrait of Saskia van Uylenburgh	c. 1633–1642	Oil on panel	99.5 x 78.8	Schloss Wilhelmshöhe, Kassel	An 18th-century document provides evidence that the painting originally measured c. 128 x 104.5 cm and was rounded above
96		Self-portrait with Gold Chain	1633	Oil on panel	61 x 48.1	Musée du Louvre, París
97		Self-portrait with Beret and Gold Chain	1633	Oil on panel	70.4 x 54	Musée du Louvre, París
98		Bust of Young Woman	1633	Oil on panel	65 x 48	Rijksmuseum Amsterdam
99		Man in Oriental Costume	c. 1633–1634	Oil on canvas	98 x 74	National Gallery of Art, Washington	Rembrandt and pupil(?). This work was probably larger on all sides
100		A Young Woman (Esther? Judith?) at her Toilet	1633	Oil on canvas	110.5 x 94.3	National Gallery of Canada, Ottawa
101		Bellona	1633	Oil on canvas	127 x 97.5	Metropolitan Museum of Art, Nueva York
102		Daniel Refuses to Worship the Idol Baal	1633	Oil on panel	23.4 x 30.1	J. Paul Getty Museum, Los Ángeles
103		A Bust of an Old Man	1633	Grisaille, paper on panel	10.6 x 7.2	Private collection
104		Bust of a Man in Oriental Dress	1633	Oil on panel	85.8 x 63.8	Alte Pinakothek, Múnich
105		The Storm on the Sea of Galilee	1633	Oil on canvas	160 x 128	Stolen from the Isabella Stewart Gardner Museum, Boston
106		The Raising of the Cross	1633	Oil on canvas	95.7 x 72.2	Alte Pinakothek, Múnich	Part of the Passion series for Frederik Hendrik
107		The Descent from the Cross	1632/1633	Oil on panel	89.6 x 65	Alte Pinakothek, Múnich	Part of the Passion series for Frederik Hendrik
108		Joseph Telling his Dreams	1634	Grisaille, paper stuck on card	55.8 x 39.7	Rijksmuseum Amsterdam	Made in preparation for an unfinished printed Passion series
109		The Adoration of the Magi	1633	Grisaille, paper stuck on card(?)	44.8 x 39.1	Hermitage Museum, Saint Petersburg	Made in preparation for an unfinished printed Passion series
110		John the Baptist Preaching	c. 1633/1634	Grisaille, canvas (enlarged) stuck on panel	62.7 x 81.1	Gemäldegalerie, Berlin
111		Christ and his Disciples in Gethsemane	1634	Drawing on paper. Pen and brown ink with brown and other washes and red and black chalk	35.7 x 48.8	Teylers Museum, Haarlem	Although executed with drawing materials on paper, in view of its presumed function this work is counted here among Rembrandt’s grisailles in preparation for an unfinished printed Passion series
112		Ecce Homo	1634	Grisaille, paper on canvas	54.5 x 44.5	National Gallery, Londres	Grisaille in preparation for an unfinished printed Passion series
113		The Lamentation	c. 1633/1634	Grisaille, paper on canvas; enlarged by another hand on a panel measuring 31.9 x 26.7 cm	31.9 x 26.7	National Gallery, Londres	Grisaille may be fragment of the planned Passion series
114		The Entombment	1633/1634	Grisaille, panel	32.1 x 40.3	Hunterian Museum and Art Gallery, Glasgow	Grisaille may be fragment of the planned Passion series
115		Portrait of a Young Bachelor	1634	Oil on panel	70 x 52	Hermitage Museum, Saint Petersburg	The painting is covered by a layer of yellowed varnish
116		Portrait of an 83-year Old Woman (possibly Aechje Claesdr, mother of Dirck Jansz Pesser)	1634	Oil on panel	68.7 x 53.8	National Gallery, Londres
117a		Portrait of Dirck Jansz Pesser	1634	Oil on panel	71 x 53	Los Angeles County Museum of Art	Companion piece to 117b
117b		Portret of van Haesje Jacobsdr van Cleyburgh	1634	Oil on panel	71 x 53	Rijksmuseum Amsterdam	Companion piece to 117a
118a		Portrait of a Man in a Broad-brimmed Hat	1634	Oil on panel	70 x 53	Museum of Fine Arts, Boston	Rembrandt and mainly workshop. Companion piece to 118b
118b		Portrait of a Woman	1634	Oil on panel	69.5 x 53	Museum of Fine Arts, Boston	Companion piece to 118a
119a		Portrait of a 41-year-old Man, possibly Pieter Sijen	1633	Oil on panel	69.3 x 54.8	Norton Simon Museum, Pasadena	Companion piece to 119b
119b		Portrait of a 40-year-old Woman, possibly Marretje Cornelisdr van Grotewal	1634	Oil on panel	69 x 55	Speed Art Museum, Louisville	Companion piece to 119a
120a		Portrait of Maerten Soolmans	1634	Oil on canvas	207 x 132.5	Joint ownership by Rijksmuseum and The Louvre	Companion piece to 120b
120b		Portrait of Oopjen Coppit	1634	Oil on canvas	207 x 132	Joint ownership between The Louvre and Rijksmuseum	Companion piece to 120a
121a		Portrait of Reverend Johannes Elison	1634	Oil on canvas	173 x 123	Museum of Fine Arts, Boston	Companion piece to 121b
121b		Portrait of Maria Bockenolle	1634	Oil on canvas	174.5 x 123	Museum of Fine Arts, Boston	Companion piece to 121a
122		Oval Self-portrait with Shaded Eyes	1634	Oil on panel	70.8 x 55.2	Leiden Collection, Nueva York
123		Self-portrait in a Cap and Fur-trimmed Cloak	1634	Oil on panel	58.3 x 47.5	Gemäldegalerie, Berlin	The painting is covered by a layer of yellowed varnish
124		Cupid Blowing a Soap Bubble	1634	Oil on canvas	75 x 92.62	Liechtenstein Museum, Vienna
125		Flora	1634	Oil on canvas	125 x 101	Hermitage Museum, San Petersburgo
126		The Descent from the Cross	1634	Oil on canvas	159.3 x 116.4	Hermitage Museum, San Petersburgo
127		The Incredulity of Thomas	1634	Oil on panel	53 x 50	Pushkin Museum, Moscú
128		Sophonisba Receiving the Poisoned Cup	1634	Oil on canvas	142 x 153	Museo del Prado, Madrid
129		A Scholar, Seated at a Table with Books	1634	Oil on canvas	145 x 134	National Gallery in Prague
130		Diana Bathing with her Nymphs, with the Stories of Actaeon and Callisto	1634	Oil on panel	73.5 x 93.5	Museum Wasserburg, Anholt
130A		The Flight into Egypt	1634	Oil on panel	52 x 40.1	Private collection
131		The Holy Family	1634	Oil on canvas	195 x 132	Alte Pinakothek, Múnich	The painting was originally probably wider than it is today
132a		Portrait of Philips Lucasz	1635	Oil on panel	79.5 x 58.9	National Gallery, Londres	Rembrandt and workshop. Companion piece to 132b
132b		Portrait of Petronella Buys	1635	Oil on panel	78.8 x 65.3	private collection	Rembrandt and workshop. Companion piece to 132a
133a		Portrait of a Man in a Slouched Hat and Bandoleer	1635	Oil on canvas	78.5 x 65.7	Kawamura Memorial DIC Museum of Art, Sakura	Rembrandt and/or workshop. Companion piece to 133b. The painting suffered severely when it was transferred from panel to canvas in 1929 and also from overcleaning. Originally rectangular and possibly also larger below
133b		Portrait of a Young Woman	1635	Oil on panel	78 x 65	Cleveland Museum of Art	Rembrandt and mainly workshop. Companion piece to 133a. The painting has suffered severely from overcleaning. Originally rectangular and possibly also larger below
134		Self-portrait wearing a white feathered bonnet	1635	Oil on canvas	90.5 x 71.8	Buckland Abbey	Rembrandt (and workshop?)
135		Self-portrait as the Prodigal Son in the Tavern	1635	Oil on canvas	161 x 131	Staatliche Kunstsammlungen Dresden	The reconstruction of the stretcher on the basis of the X-ray shows just how much the painting was reduced in size. The paint surface of the lower part of the remaining fragment suffered badly, such that it had to be repainted
136		Abraham's Sacrifice	1635	Oil on canvas	193.5 x 132.8	Hermitage Museum, San Petersburgo	The painting is covered by a layer of yellowed varnish
137		The Abduction of Ganymede	1635	Oil on canvas	177 x 130	Staatliche Kunstsammlungen Dresden
138		Flora	1635	Oil on canvas	123.5 x 97.5	National Gallery, Londres
139		Minerva	1635	Oil on canvas	137 x 116	Leiden Collection, Nueva York
140		Samson Threatening his Father-in-law	c. 1635	Oil on canvas	159 x 131	Gemäldegalerie, Berlin
141		Bust of a Man in Oriental Dress	1635	Oil on panel	72 x 54.5	Rijksmuseum Amsterdam
142		Bust of a Bearded Old man in Fanciful Costume	1635	Oil on panel	72.5 x 62.1	Royal Collection
143		Belshazzar’s Feast	1635	Oil on canvas	167.6 x 209.2	National Gallery, Londres	On the basis of the pattern of cusping, it may be concluded that the painting was tilted to the left by later hands and cut to shape accordingly. This is also apparent from the edge of the table and the stream of wine poured from the jug by the woman on the right
144		Susanna Bathing	1636	Oil on panel	47.2 x 38.6	Mauritshuis, The Hague
145		The Ascension	1636	Oil on canvas	93 x 68.7	Alte Pinakothek, Múnich	Part of the Passion series for Frederik Hendrik
146		Self-portrait Transformed into a ‘tronie’	c. 1633–1636	Oil on panel	56 x 47	Gemäldegalerie, Berlin
147		The Standard-Bearer	1636	Oil on canvas	118.8 x 96.8	Collection of Elie de Rothschild, París
148		The Blinding of Samson	1636	Oil on canvas	205 x 272	Städel, Fráncfort del Meno
149		Danaë	c. 1636 – c. 1643	Oil on canvas	185 x 203	Hermitage Museum, San Petersburgo	The painting was very badly damaged in 1985
150		The Angel Raphael Leaving Tobit and his Family	1637	Oil on panel	66 x 52	Musée du Louvre, París
151		The Parable of the Labourers in the Vineyard	1637	Oil on panel	31 x 42	Hermitage Museum, San Petersburgo	The paint of the figures to the right have suffered from blanching
152		River Landscape with Ruins	c. 1637 – c. 1645	Oil on panel	67 x 87.5	Schloss Wilhelmshöhe, Kassel	The mill together with its immediate surroundings was originally placed in a flat Dutch landscape. Rembrandt transformed it into classical mountainous landscape around 1645
153		The Concord of the State	1637	Oil on panel	74.6 x 101	Museum Boijmans Van Beuningen, Róterdam	Grisaille serving as a design for a political print which was never realized
154		Self-portrait	1637	Oil on panel	64 x 49	Wallace Collection, Londres	The painting originally was larger (c. 75 x 55 cm) and rectangular. The upper corners of the background are digitally reconstructed
155		A Polish Nobleman	1637	Oil on panel	96.7 x 66.1	National Gallery of Art, Washington
156		Portrait of the Preacher Eleazar Swalmius	1637	Oil on canvas	132 x 109	Royal Museum of Fine Arts Antwerp
157		Bust of a Man with Plumed Cap	1637	Oil on panel	62.5 x 47	Mauritshuis, The Hague
158		The Risen Christ Appearing to Mary Magdalene	1638	Oil on panel	61 x 49.5	Royal Collection
159		Landscape with the Good Samaritan	1638	Oil on panel	46.5 x 66	Czartoryski Museum, Kraków
160		The Wedding of Samson	1638	Oil on canvas	126 x 175	Staatliche Kunstsammlungen Dresden
161		Woman with a Mirror	1638	Oil on panel	23.9 x 32.5	Hermitage Museum, San Petersburgo
162		The Entombment	1635–1639	Oil on canvas	92.6 x 68.9	Alte Pinakothek, Múnich	Part of the Passion series for Frederik Hendrik
163		The Resurrection	1639	Oil on canvas	92.9 x 67	Alte Pinakothek, Múnich	Part of the Passion series for Frederik Hendrik
164		King Uzziah Stricken with Leprosy	c. 1639/1640	Oil on panel	102.8 x 78.8	Chatsworth House	Covered with a disturbing layer of yellowed varnish. The dark patches in Uzziah’s face are probably painted indications of his leprosy
165		Two Dead Peacocks and a Girl	1639	Oil on canvas	145 x 135.5	Rijksmuseum Amsterdam
166		A Dead Bittern	1639	Oil on panel	120.7 x 88.3	Staatliche Kunstsammlungen Dresden	The painting is covered by a layer of yellowed varnish
167		Portrait of a Man Holding a Hat	c. 1640	Oil on panel	81.4 x 71.4	Hammer Museum, Los Ángeles	The panel has been trimmed on all sides. It belonged to a batch of equally large poplar panels, which makes it possible to speculate about the original size of the painting
168		Portrait of a Man Standing, possibly Andries de Graeff	1639	Oil on canvas	200 x 124.2	Schloss Wilhelmshöhe, Kassel
169		Portrait of Aletta Adriaensdr	1639	Oil on panel	64.7 x 55.3	Museum Boijmans Van Beuningen, Róterdam	The heavily damaged fingers were reconstructed during a restoration in the 1960s
170		Self-portrait	1640	Oil on panel	80.5 x 62.8	Musée du Louvre, París	Rembrandt and workshop? Adaption of an earlier self-portrait
171		Bust of Young Woman	c. 1640	Oil on panel	60.5 x 49	National Gallery of Art, Washington
172		Self-portrait	c. 1639	Oil on panel	63 x 50.1	Norton Simon Museum, Pasadena
173		The Holy Family with St Anne	1640	Oil on panel	40.6 x 34	Musée du Louvre, París	The painting is covered by a layer of yellowed varnish
174		The Visitation	1640	Oil on panel	56.5 x 47.8	Detroit Institute of Arts
175		Landscape with a Stone Bridge	c. 1638/1640	Oil on canvas	29.5 x 42.5	Rijksmuseum Amsterdam
176		Mountain Landscape with Approaching Storm	1640	Oil on panel	52 x 72	Herzog Anton Ulrich Museum, Braunschweig
177a		Portrait of Herman Doomer	1640	Oil on panel	75.2 x 55.3	Metropolitan Museum of Art, Nueva York	Companion piece to 177b
177b		Portrait of Baertje Martens	1640	Oil on panel	75.1 x 55.9	Hermitage Museum, San Petersburgo	Companion piece to 177a
178		Self-portrait	c. 1640	Oil on panel	72.2 x 58.3	Thyssen-Bornemisza Museum, Madrid	The panel was slightly cropped later; the roughly blocked out hand was revealed during a restoration. Originally it must have been painted out by Rembrandt himself
179		Self-Portrait at the Age of 34	1640	Oil on canvas	93 x 80	National Gallery, Londres
180		Portrait of a Woman, possibly Anna Wijmer	1641	Oil on panel	99.5 x 81.5	Six Foundation, Ámsterdam
181		Saskia as Flora	1641	Oil on panel	98.5 x 82.5	Staatliche Kunstsammlungen Dresden	The paint is covered by a disturbing yellowed layer of varnish
182		Oil Study of a Woman Lit Obliquely from Behind	1640	Oil on panel	46.5 x 37.5	Leiden Collection, Nueva York
183		Portrait of the Mennonite Preacher Cornelius Claesz Anslo and his Wife Aaltje Gerritsdr Shouten	1641	Oil on canvas	176 x 210	Gemäldegalerie, Berlin
184b		Portrait of Maria Trip	1641(?)	Oil on canvas	107 x 82	Rijksmuseum Amsterdam	Rembrandt and the painter of 184a. Companion piece to 184a: Rembrandt workshop, Portrait of a man (Balthasar Coymans?). 1641 (?). Private collection
185		A Scholar at a Writing Desk	1641	Oil on panel	104 x 76	Royal Castle, Warsaw
186		Girl in Fanciful Costume in a Picture Frame	1641	Oil on panel	104 x 76	Royal Castle, Warsaw
187a		Portrait of Nicolas van Bambeeck in a Picture Frame	1641	Oil on canvas	108.8 x 83.3	Royal Museums of Fine Arts of Belgium, Bruselas	Companion piece to 187b
187b		Portrait of Agatha Bas in a Picture Frame	1641	Oil on canvas	104 x 82	Royal Collection	Companion piece to 187a
188		David’s Parting from Jonathan	1642	Oil on panel	73 x 61	Hermitage Museum, San Petersburgo
189		Self-Portrait	1642	Oil on panel	69.9 x 58.4	Royal Collection	The costume and the hand are largely overpainted by a much later hand
190		The Company of Captain Frans Banning Cocq and Lieutenant Willem van Ruytenburch (Night Watch)	1642	Oil on canvas	363 x 438	Rijksmuseum Amsterdam	Actually: ‘The painting in the great hall of the Kloveniers Doelen in which the young Lord of Purmerland [Frans Banninck Cocq] as Captain, gives the order to his Lieutenant, the Lord of Vlaerdingen [Willem van Ruytenburgh] to march off his Company of Citizens’, as the painting is called in the family album of Frans Banninck Cocq. The painting has been cropped on all four sides
191a		Portrait of a Man with a Hawk	1643	Oil on canvas	114 x 97.3	Private collection	Rembrandt and workshop. Companion piece to 191b
191b		Portrait of a Woman with a Fan	1643	Oil on canvas	114.5 x 98	Private collection	Rembrandt and (mainly) workshop. Companion piece to 191a
192		An Old Man in Rich Costume (Boaz?)	1643	Oil on panel	72.5 x 58.5	Woburn Abbey	Possibly companion piece to 193. The series of curved cracks in the panel and paintlayer are typical for paintings on mahogany panels
193		Bust of a Woman (Ruth?)	1643	Oil on panel	72 x 59	Gemäldegalerie, Berlin	Possibly companion piece to 192. The darker parts of the costume were originally lighter and more colourful
194		Sarah Waiting for Tobias	1643	Oil on canvas	81.2 x 67.9	National Gallery of Scotland, Edinburgh
195		Portrait of a Man with a Steel Gorget	1644	Oil on canvas	94.3 x 77.8	Metropolitan Museum of Art, Nueva York	Cropped along the bottom edge
196		Christ and the Woman Taken in Adultery	1644	Oil on panel	83.8 x 65.4	National Gallery, Londres
197		A Weeping Woman	c. 1644	Oil on panel	21.3 x 16.8	Detroit Institute of Arts	Oil sketch in preparation for 196
198		The Holy Family with Angels	1645	Oil on canvas	117 x 91	Hermitage Museum, San Petersburgo	Strips of canvas of considerable width are missing on the side and top edges
199		Self-portrait with Beret and Red Cloak	c. 1645/1648	Oil on panel	73.5 x 59.6	Staatliche Kunsthalle Karlsruhe	The size of this painting has been altered several times, as has its format (from rectangular to oval to rectangular to oval again)
200		Girl Leaning on a Stone Window Sill	1645	Oil on canvas	81.6 x 66	Dulwich Picture Gallery, Londres
201		Tobit and Anna	1645	Oil on panel	20 x 27	Gemäldegalerie, Berlin
202		Joseph's Dream in the Stable at Bethlehem	1645	Oil on panel	20.7 x 27.8	Gemäldegalerie, Berlin
203		Old Man with Fur Coat	1645	Oil on panel	110 x 82	Gemäldegalerie, Berlin	The painting was probably cropped on all sides. It may well have had the same size as 204
204		Old Man with a Stick	1645	Oil on canvas	128 x 112	Museu Calouste Gulbenkian, Lisbon
205		Landscape with a Castle	1645	Oil on panel	44.5 x 70	Musée du Louvre, París	Unfinished
206		The Mill	c. 1645	Oil on canvas	87.6 x 105.6	National Gallery of Art, Washington	In the painting in its present state the mill is tilted forward
207		Winter Landscape	1646	Oil on panel	17 x 23	Schloss Wilhelmshöhe, Kassel
208		Abraham Serving the Three Angels	1646	Oil on panel	16 x 21	Private Collection
209		The Holy Family with Painted Frame and Curtain	1646	Oil on panel	46.8 x 68.4	Schloss Wilhelmshöhe, Kassel	Rembrandt or pupil. The painting is covered by a layer of yellowed varnish
210		The Prophetess Anna in the Temple	1650 or c. 1646	Oil on panel	40.5 x 31.5	National Gallery of Scotland, Edinburgh	The painting is covered by a layer of yellowed varnish
211a		The Nativity	1646	Oil on canvas	92 x 71	Alte Pinakothek, Múnich	Part of the Passion series for Frederik Hendrik. 211b. Studio copy after a lost Circumcision (which was part of the Passion series for Frederik Hendrik), in or after 1646. Braunschweig, Herzog Anton Ulrich Museum
212		Saul and David	c. 1645 and c. 1652	Oil on canvas	130 x 164.5	Mauritshuis, The Hague	The painting originally was considerable larger. A vertical strip, wide c. 20 cm is missing to the left of David’s harp. Along the bottom the painting was c. 18 cm larger. The top right square piece of canvas above David was replaced by a fragment of a seventeenth-century painting and overpainted
213		Susanna and the Elders	c. 1638–1647	Oil on panel	76.6 x 92.8	Gemäldegalerie, Berlin	The painting is covered by a layer of yellowed varnish
214		Nocturnal Landscape with the Holy Family	1647	Oil on panel	33.8 x 47.8	National Gallery of Ireland, Dublín
215		Preparatory Oil Sketch for the Etched Portrait of Dr Ephraim Bueno	c. 1647	Oil on panel	19 x 15	Rijksmuseum Amsterdam
216		Portrait of a Man Reading by Candlelight	1648	Oil on canvas	66.5 x 58	Clark Art Institute, Williamstown
217a		Oil Study of Christ	c. 1648	Oil on panel	25 x 20	Gemäldegalerie, Berlin	The only surviving copy of Head of Christ by the master's hand.
217b		Oil Study of Christ	1648	Oil on panel	25.5 x 20.1	Louvre Abu Dhabi, United Arab Emirates[1]	Rembrandt or workshop. Companion piece to 217a
218		The Supper at Emmaus	1648	Oil on panel	68 x 65	Musée du Louvre, París	The panel, whose grain runs horizontally, may have extended further on the left where there could have been a window
219		Christ Appearing to Mary Magdalene, ‘Noli me tangere’	1650 or slightly later	Oil on canvas	65 x 79	Herzog Anton Ulrich Museum, Braunschweig	The painting is in an extremely bad condition and shows disturbing blanching in places
220		Girl at a Window	1651	Oil on canvas	78 x 63	Nationalmuseum, Estocolmo
221		An Old Man in an Armchair	1652	Oil on canvas	111 x 88	National Gallery, Londres	Probably by Rembrandt
222		An Old Man in Fanciful Costume	1651	Oil on canvas	78.5 x 67.5	Chatsworth House	The painting was originally taller. It is covered by a disturbing layer of yellowed varnish
223		Hendrickje with Fur Wrap	c. 1652	Oil on canvas	103.3 x 86.5	National Gallery, Londres
224		The So-called Large Vienna Self-portrait with Beret	1652	Oil on canvas	112.1 x 81	Kunsthistorisches Museum, Vienna	The painting has been cropped both at top left and bottom. It is covered by a disturbing layer of yellowed varnish
225		Portrait of a Man	c. 1651	Oil on canvas	92.5 x 73.5	Faringdon Collection, Oxfordshire
226		Portrait of Nicolaes Bruyningh	1652	Oil on canvas	106.8 x 91.5	Schloss Wilhelmshöhe, Kassel	The painting is covered by a layer of yellowed varnish
227		Half-figure of a Bearded Man with Beret	c. 1653	Oil on canvas	78 x 66.5	National Gallery, Londres
228		Aristotle with a Bust of Homer	1653	Oil on canvas	141.8 x 134.4	Metropolitan Museum of Art, Nueva York	The painting was larger at both top and bottom. The original proportions of the canvas were 4:3
229		A Woman Wading in a Pool (Callisto in the Wilderness)	1654	Oil on panel	61.8 x 47	National Gallery, Londres
230		Oil Study of an Old Man with a Red Hat	c. 1654	Oil on canvas	52.4 x 37	Gemäldegalerie, Berlin	The painting is covered by a disturbing layer of darkened varnish
231		Bathsheba at her Toilet	1654	Oil on canvas	142 x 142	Musée du Louvre, París	The canvas was originally considerably higher and wider at the left. Strips are missing from the bottom and right. In the process of changing the format of the painting the remaining part with the figures was slightly tilted to the left
232		Woman at an Open Half-door	c. 1654	Oil on canvas	88.5 x 67	Gemäldegalerie, Berlin	The painting is covered by a disturbing layer of yellowed varnish
233		Portrait of Jan Six	1654	Oil on canvas	112 x 102	Six Foundation, Amsterdam
234		The Standard-Bearer (Floris Soop)	1654	Oil on canvas	138 x 113	Metropolitan Museum of Art, Nueva York
235a		Self-portrait	1654	Oil on canvas	72 x 58.5	Schloss Wilhelmshöhe, Kassel	Companion piece to 235b
235b		Portrait of Hendrickje Stoffels	c. 1654	Oil on canvas	72 x 60	Musée du Louvre, París	Companion piece to 235a
236		The Polish Rider	c. 1655	Oil on canvas	116.8 x 134.9	Frick Collection, Nueva York	Partly unfinished, locally completed by later hand. At least 8–10 cm of the canvas are missing at the right. Along the bottom a strip of c. 10 cm was lost at some stage and subsequently replaced by a reconstruction painted by the restorer William Suhr
237		Joseph Accused by Potiphar’s Wife	1655	Oil on canvas	110 x 87	Gemäldegalerie, Berlin	With possible additions by another hand. The figure of Joseph and the left part of the pillow seem to have been added by a later hand on the basis of a rough underpainting by Rembrandt
238		Oil Sketch of an Old Man	c. 1655	Oil on panel	23 x 18	Private collection
239		Man in Armour	c. 1655	Oil on canvas	137.5 x 104.5	Kelvingrove Art Gallery and Museum, Glasgow	The canvas has been enlarged on all four sides
240		Slaughtered Ox	1655	Oil on panel	95.5 x 69	Musée du Louvre, París
241		Old Woman Reading (Study in Lighting Effects)	1655	Oil on canvas	79 x 65	Drumlanrig Castle, Thornhill
242		Titus at a Desk	1655(?)	Oil on canvas	77 x 63	Museum Boijmans Van Beuningen, Róterdam
243		Unfinished Portrait of a Boy	c. 1656	Oil on canvas	65 x 56	Norton Simon Museum, Pasadena
244		Man with Beret and Tabard (a Falconer?)	1656	Oil on canvas	115 x 88.3	Toledo Museum of Art	The painting must originally have extended considerably further to the right
245		Jacob Blessing the Sons of Joseph	1656	Oil on canvas	175 x 210.5	Schloss Wilhelmshöhe, Kassel
246		The Anatomy Lesson of Dr. Jan Deyman	1656	Oil on canvas	100 x 134	Amsterdam Museum	Fragment that survived a fire. Blisters and traces of other fire-damage are still visible along the upper edge and in the hands of the dissector, Dr Deyman
247		Young Man Seated at a Table	c. 1656	Oil on canvas	109.9 x 89.5	National Gallery of Art, Washington
248a		Portrait of a Gentleman with a Pair of Gloves	c. 1656	Oil on canvas	99.5 x 82.5	National Gallery of Art, Washington	Companion piece to 248b. The painting (and its companion piece) seems to be a fragment of a full-size portrait
248b		Portrait of a Lady with an Ostrich Feather Fan	c. 1656	Oil on canvas	99.5 x 83	National Gallery of Art, Washington	Companion piece to 248a
249		Portrait of a Man, possibly Arnout Tholincx	1656	Oil on canvas	76 x 63	Musée Jacquemart-André, París
250		Portrait of poet Jeremias de Decker	1656	Oil on panel	71 x 56	Hermitage Museum, San Petersburgo
251		Venus and Cupid	c. 1657	Oil on canvas	110 x 88	Musée du Louvre, París	Possibly part of a tripartite series with 252 and 253. The canvas has been cropped on all sides
252		Juno	c. 1657–1665	Oil on canvas	127 x 106	Hammer Museum, Los Ángeles	Possibly part of a tripartite series with 251 and 253
253		Pallas Athene	c. 1657	Oil on canvas	118 x 91	Museu Calouste Gulbenkian, Lisbon	Rembrandt and pupil. Possibly part of a tripartite series with 251 and 252. The canvas has been reduced at the left and bottom
254		The Apostle Paul at his Writing Desk	1657	Oil on canvas	129 x 102	National Gallery of Art, Washington	Rembrandt and workshop
255		The Apostle Bartholomew	1657	Oil on canvas	122.7 x 99.5	Timken Museum of Art, San Diego
256		The So-called Small Vienna Self-portrait	c. 1657	Oil on panel	48.9 x 40.2	Kunsthistorisches Museum, Viena	Serious overcleaning and related overpaintings are evident in the shaded part of the face and in the costume. The painting appears to be a fragment of a considerably larger self-portrait
257		Portrait of Titus van Rijn	1657	Oil on canvas	67.3 x 55.2	Wallace Collection, Londres	The figure may have been placed before a larger, rather lively background
258		Portrait of Catharina Hooghsaet	1657	Oil on canvas	123.5 x 95	National Museum, Cardiff
259		Portrait of an Unknown Scholar (also known as ‘The Auctioneer’)	1658	Oil on canvas	108 x 85	Metropolitan Museum of Art, Nueva York
260		Preparatory Oil Sketch for the Etched Portrait of Lieven Willemsz van Coppenol	In or before 1658	Oil on panel	35.6 x 28	Metropolitan Museum of Art, Nueva York	See etching B283
261		Portrait of a Man with Arms Akimbo	1658	Oil on canvas	107.4 x 87	Agnes Etherington Art Centre, Kingston
262		The Risen Christ	c. 1658	Oil on canvas	81 x 64	Alte Pinakothek, Múnich	The painting was not originally oval
263		Portrait of Dirck van Os	c. 1658	Oil on canvas	113.5 x 88.7	Joslyn Art Museum, Omaha
264		Self-portrait	1658	Oil on canvas	131 x 102	Frick Collection, Nueva York
265		Philemon and Baucis	1658	Oil, transferred from panel to gauze and then stuck on a new panel	54.5 x 68.5	National Gallery of Art, Washington
266		Tobit and Anna	1659	Oil on canvas	41.8 x 54.6	Museum Boijmans Van Beuningen, Róterdam
267		Moses Smashes the Stone Tablets with the Covenant	1659	Oil on canvas	168.5 x 136.5	Gemäldegalerie, Berlin	Unfinished
268		Jacob Wrestling with the Angel	c. 1659	Oil on canvas	137 x 116	Gemäldegalerie, Berlin	The painting must have been cropped on all sides. A piece of the same canvas bearing Rembrandt’s signature is stuck on the lower right corner. Many of the contours have been strengthened by a later hand
269		Posthumous Portrait of Saskia van Uylenburgh as Flora	c. 1660	Oil on canvas	100 x 91.8	Metropolitan Museum of Art, Nueva York	Rembrandt (and workshop?)
270		Portrait of a Man as the Apostle Paul	1659	Oil on canvas	102 x 85.5	National Gallery, Londres
271		Oil Sketch for 272	c. 1659	Oil on canvas	68.5 x 55.5	Statens Museum for Kunst, Copenhagen
272		‘Portrait Historié’ of an Unknown Gentleman as St Bavo	c. 1659	Oil on canvas	98.5 x 79	Gothenburg Museum of Art
273		Self-portrait	1657/1659	Oil on canvas	50 x 42.5	National Gallery of Scotland, Edinburgh
274		Self Portrait with Beret and Turned-Up Collar	1659	Oil on canvas	84.4 x 66	National Gallery of Art, Washington
275		Self-portrait	c. 1659	Oil on canvas	30.7 x 24.3	Musée Granet, Aix-en-Provence	Unfinished
276		Lighting Study with an Old Man as a Model	1659	Oil on panel	38.1 x 26.8	Agnes Etherington Art Centre, Kingston
277		Lighting Study with Hendrickje Stoffels in a Silk Gown as a Model	c. 1659	Oil on panel	72.5 x 51.5	Städel, Fráncfort del Meno	A narrow strip is missing along the left side, a consequence of woodworm attack. The painting is covered with a yellowed varnish
278		Hendrickje Stoffels	1660	Oil on canvas	78.4 x 68.9	Metropolitan Museum of Art, Nueva York	The painting is in a badly overcleaned and abraded condition
279		Titus van Rijn as St Francis	1660	Oil on canvas	79.5 x 67.5	Rijksmuseum Amsterdam
280		A Smiling Young Man (Titus)	1660	Oil on canvas	81.5 x 78.5	Baltimore Museum of Art
281		Self-portrait at an Easel	1660	Oil on canvas	110.9 x 90.6	Musée du Louvre, París
282		Rembrandt: Self Portrait	1660	Oil on canvas	81 x 67.6	Metropolitan Museum of Art, Nueva York
283		Assuerus, Haman, and Esther	1655 65	Oil on canvas	71.5 x 93	Pushkin Museum, Moscú
284		The Denial of Peter	1660	Oil on canvas	154 x 169	Rijksmuseum Amsterdam	The canvas was reduced on the right. 286 was painted on part of the trimmed piece
285		Lighting Study of an Old Man in Profile	1661	Oil on panel	24.8 x 19.1	Agnes Etherington Art Centre, Kingston	Probably painted in preparation for 286
286		The Circumcision in the Stable	1661	Oil on canvas	56.5 x 75	National Gallery of Art, Washington
287		The Virgin of Sorrow	1661	Oil on canvas	107 x 81	Musée départemental d'Art ancien et contemporain, Epinal
288		Titus Posing for a Study of an Angel	c. 1661	Oil on panel	40.6 x 34.9	Detroit Institute of Arts	Possibly painted in preparation for 289
289		St. Matthew and the Angel	1661	Oil on canvas	96 x 81	Musée du Louvre, París	Part of a series with 290–294
290		The Apostle Bartholomew	1661	Oil on canvas	87.5 x 75	J. Paul Getty Museum, Los Ángeles	Part of a series with 289, 291–294
291		The Apostle Simon	1661	Oil on canvas	98.5 x 79	Kunsthaus Zürich	Part of a series with 289, 290 and 292–294
292		The Apostle James the Greater	1661	Oil on canvas	92.1 x 74.9	Whereabouts unknown	Part of a series with 289–291 and 293, 294
293		The Apostle James the Less, or Christ with a Staff	1661	Oil on canvas	94.5 x 81.5	Metropolitan Museum of Art, Nueva York	Part of a series with 289–292 and 294
294		Self-portrait as the Apostle Paul	1661	Oil on canvas	93.2 x 79.1	Rijksmuseum Amsterdam	Part of a series with 289–293
295		Two Moors	1661	Oil on canvas	77.8 x 64.5	Mauritshuis, The Hague	The paint surface is severely worn. The painting has been cropped to the right and bottom
296		The Small Margaretha de Geer	1661	Oil on canvas	73.5 x 60.7	National Gallery, Londres	Sketch for 297b
297a		Portrait of Jacob Trip	1661	Oil on canvas	130.5 x 97	National Gallery, Londres	Companion piece to 297b
297b		Portrait of Margaretha de Geer	1661	Oil on canvas	130.5 x 97	National Gallery, Londres	Companion piece to 297a
298		The Conspiracy of the Batavians under Claudius Civilis	1661–62	Oil on canvas	196 x 309	Nationalmuseum, Stockholm	Fragment
299		Portrait of the Syndics of the Amsterdam Clothmakers’ Guild, known as the ‘Staalmeesters’	1662	Oil on canvas	191.5 x 279	Rijksmuseum Amsterdam
300		Portrait of a Young Man	1662	Oil on canvas	80 x 64.7	Nelson-Atkins Museum of Art, Kansas City
301		Homer Dictating his Verses	1663	Oil on canvas	108 x 82.4	Mauritshuis, The Hague	Made as part of a tripartite series with 228 and a lost Alexander the Great. In the right lower corner part of the manuscript, fingertips with pen and rim of the inkwell of a scribe
302		Self-portrait as the Laughing Zeuxis while Painting an Old Woman	1663	Oil on canvas	82.5 x 65	Wallraf-Richartz Museum, Colonia	Cropped on all four sides; the upper left and right corners are later additions
303		Equestrian Portrait of Frederick Rihel	1663	Oil on canvas	294.5 x 241	National Gallery, Londres	Rembrandt and workshop. The horse is painted by a different painter, possibly Titus van Rijn
304		Bust of a Bearded Young Man with a Skullcap	1663	Oil on canvas	65.8 x 57.5	Kimbell Art Museum, Fort Worth
305		Portrait of a Woman with a Lapdog	1665	Oil on canvas	81 x 64	Art Gallery of Ontario, Toronto	The originally more differentiated background is overpainted with black
306		Old Man in an Armchair, possibly a portrait of Jan Amos Comenius	1665	Oil on canvas	104 x 86	Uffizi, Florencia	Covered with remnants of darkened varnish
307		Titus Reading (study in direct and reflected light)	1660/1665	Oil on canvas	70.5 x 64	Kunsthistorisches Museum, Viena
308		Portrait of Gerard de Lairesse	1665	Oil on canvas	112 x 87	Metropolitan Museum of Art, Nueva York
309		Portrait of Jan Boursse, Sitting by a Stove	1666	Oil on panel	47 x 40.5	Museum Oskar Reinhart ‘Am Römerholz’, Winterthur	Probably painted in preparation of an unrealized etched portrait. The painting has suffered heavily from overcleaning and wear and is covered with a thick layer of yellowed varnish
310		A Presumed Sketch for the Male Sitter in the ‘Jewish Bride’	1660s	Oil on panel	38.4 x 31.1	Metropolitan Museum of Art, Nueva York
311a		Portrait of a Man with a Magnifying Glass, possibly Pieter Haaringh	1665	Oil on canvas	91.4 x 74.3	Metropolitan Museum of Art, Nueva York	Companion piece to 311b
311b		Portrait of a Woman with a Carnation, possibly Lysbet Jansdr Delft	1665	Oil on canvas	92.1 x 74.6	Metropolitan Museum of Art, Nueva York	Companion piece to 311a
312		‘Portrait Historié’ of a Couple as Isaac and Rebecca (known as ‘The Jewish Bride’)	1665	Oil on canvas	121.5 x 166.5	Rijksmuseum Amsterdam	Originally the painting was larger
313		Family Portrait	1665	Oil on canvas	126 x 167	Herzog Anton Ulrich Museum, Braunschweig
314		Lucretia	1666	Oil on canvas	111 x 95	Minneapolis Institute of Arts	Both hands have been (clumsily) overpainted by a later painter
315		Portrait of a White-haired Man	1667	Oil on canvas	108.9 x 92.7	National Gallery of Victoria, Melbourne
316		Portrait of an Elderly Man Seated, possibly Pieter de la Tombe	1667	Oil on canvas	81.9 x 67.7	Mauritshuis, The Hague
317		Portrait of Titus van Rijn	1668	Oil on canvas	72 x 56	Musée du Louvre, París	Companion piece to 318?
318		Portrait of a Young Woman, possibly Magdalena van Loo	1668	Oil on canvas	56 x 47	Montreal Museum of Fine Arts	Companion piece to 317? Cropped on all four sides
319		Self Portrait with Two Circles	1665/1669	Oil on canvas	114.3 x 94	Kenwood House, Londres	Unfinished
320		The Return of the Prodigal Son	1660/1665	Oil on canvas	262 x 206	Hermitage Museum, San Petersburgo	Rembrandt and other hand(s). A 10 cm wide strip has been added or replaced along the right edge
321		Self-Portrait at the Age of 63	1669	Oil on canvas	86 x 70.5	National Gallery, London
322		Self-portrait with Beret	1669	Oil on canvas	71 x 54	Uffizi, Florence	Strips of c. 15 cm may have been removed on all four sides as early as the seventeenth century to accommodate the painting in an assemblage of self-portraits owned by the Medici family. The painting is now almost hidden behind a strongly discoloured or tinted layer of varnish under which there also seem to be extensive overpaintings
323		Self-portrait	1669	Oil on canvas	63.5 x 57.8	Mauritshuis, The Hague	A strip of c. 10 cm is missing from the bottom
324		Simeon in the Temple	1669	Oil on canvas	98.5 x 79.5	Nationalmuseum, Stockholm	This painting remained unfinished in his studio after Rembrandt’s death. The woman (Mary?) was probably added later by another hand. Still later, the painting was so crudely treated that it is now a ruin

Notas

Referencias

Enlaces externos

• Wikimedia Commons alberga una galería multimedia sobre Obras de Rembrandt.

На других языках

---

[en] List of paintings by Rembrandt

The following is a list of paintings by Rembrandt that are accepted as autograph by the Rembrandt Research Project. For other catalogues raisonnés of Rembrandt, see the "Rembrandt" navigation box below.

---

- [es] Anexo:Obras de Rembrandt

---

[fr] Liste des tableaux de Rembrandt

---

[ru] Список картин Рембрандта

В списке представлены картины, признанные подлинными работами Рембрандта в итоговом каталоге (2014) одноимённого исследовательского проекта.

---

---