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disguise his homely features. Biblical subjects account for about one-third of Rembrandt's entire production. This was somewhat unusual in Protestant Holland of the 17th century, for church patronage was nonexistent and religious art was not regarded as important.
In Rembrandt's early biblical works, drama was emphasized, in keeping with baroque taste. Among Rembrandt's first major public commissions in Amsterdam was the Anatomy Lesson of Dr. Tulp (1632, Mauritshuis, The Hague).
This work depicts the regents of the Guild of Surgeons gathered for a dissection and lecture. Such group portraits were a genre unique to Holland and meant substantial income for an artist in a country where neither church nor royalty acted as patrons of art. Rembrandt's painting surpasses commemorative portraits made by other Dutch artists with its interesting pyramidal arrangement of the figures, lending naturalism to the scene.
Middle Period Many of Rembrandt's paintings of the 1640s show the influence of classicism in style and spirit. A 1640 self-portrait (National Gallery, London), based on works by the Italian Renaissance artists Raphael and Titian, reflects his assimilation of classicism both in formal organization and in his expression of inner calm. In the Portrait of the Mennonite Preacher Anslo and His Wife (1641, Staatliche Museen, Berlin-Dahlem), quieter in feeling than his earlier work, the interplay between the figures is masterfully rendered; the preacher speaks, perhaps explaining a biblical passage to his wife, who quietly listens.
A number of Rembrandt's other works depict dialogues and, like this one, represent one specific moment. In the moving Supper at Emmaus (1648, Musйe du Louvre), Rembrandt's use of light immediately conveys the meaning of the scene. His group portraiture continued to develop in richness and complexity.
The so-called Night Watch-more accurately titled The .Скачать