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Rembrandt is famous for his paintings but not many people know about his personal life. After his wife Saskia died, his life became embroiled in relationships that would shock the world even today. This short story is about the other side of Rembrandt, based on fact, but few people know of. He was a great artist, but at the same time - a great criminal
1. To begin with -- 2. Human painter of the human condition -- 3. Rembrandt's Bible -- 4. Rembrandt's pictures -- 5. Rembrandt's meaning -- 6. Rembrandt's faith -- 7. Rembrandt's diary -- 8. To end with.
Anthony M. Amore and Tom Mashberg's Stealing Rembrandts is a spellbinding journey into the high-stakes world of art theft Today, art theft is one of the most profitable criminal enterprises in the world, exceeding $6 billion in losses to galleries and art collectors annually. And the masterpieces of Rembrandt van Rijn are some of the most frequently targeted. In Stealing Rembrandts, art security expert Anthony M. Amore and award-winning investigative reporter Tom Mashberg reveal the actors behind the major Rembrandt heists in the last century. Through thefts around the world - from Stockholm to Boston, Worcester to Ohio - the authors track daring entries and escapes from the world's most renowned museums. There are robbers who coolly walk off with multimillion dollar paintings; self-styled art experts who fall in love with the Dutch master and desire to own his art at all costs; and international criminal masterminds who don't hesitate to resort to violence. They also show how museums are thwarted in their ability to pursue the thieves - even going so far as to conduct investigations on their own, far away from the maddening crowd of police intervention, sparing no expense to save the priceless masterpieces. Stealing Rembrandts is an exhilarating, one-of-a-kind look at the black market of art theft, and how it compromises some of the greatest treasures the world has ever known.
This collection of short stories by Bernard Malamud includes: The Silver Crown Man in the Drawer The Letter In Retirement Rembrandt's Hat Notes from a Lady at a Dinner Party My Son the Murderer Talking Horse
Rembrandt’s Passion Series is the name given to five paintings of similar size and format executed over a six year time-frame, 1633–39. The works were commissioned by Frederick Hendrick, Prince of Orange and Stadtholder of the United Provinces, for his gallery at The Hague. Although each of the paintings depicts a traditional scene from the Passion of Christ, they do not form anything like a complete Passion Cycle. Seven years later, Hendrick ordered a further two works of the same size and format of subjects from the Nativity of Christ. Six of the seven paintings now hang in the Alte Pinakothek, Munich. As the works were executed between Rembrandt’s well-documented early Leiden period and his rapid rise to prominence as a portraitist in Amsterdam, the works have not attracted the scholarly attention they might, although the commission was undoubtedly the most prestigious of the young Rembrandt’s career. Rembrandt’s Passion Series is the first monograph to focus solely on this important group of paintings by the most famous artist of the Dutch Golden Age. In it, Simon McNamara traces the history of the commission by way of extant documentation, places the works in a seventeenth-century Dutch religious milieu, and shows how the series is both reflective of contemporary theological exegesis and embedded in theoretical artistic debates of the age. The book also highlights the extraordinary nature of the self-images seen in three of the paintings and discusses the legacy of the series in later graphic works by Rembrandt and in paintings by his pupils. In doing so, Rembrandt’s Passion Series presents a series of unifying factors, both stylistically and thematically, for the works that allows the Passion Series to be properly, and finally, called a “series”.
These poems owe their origin to Robert Bly's stunning ghazals in Stealing Sugar from the Castle. (Why Minnesota has not erected a fifty-foot statue in honor of him is beyond me.) But since these lyrics are devotional in a Christian way, they are different. Though they enjoy Bly's wonderful sense of meter, they try to exalt Jesus Christ, the God-man, the Eucharist, in the very ground and summit of our being. They want to praise him in all things, as Christian poetry must do, for what he has done, for what he is doing. Surely the future will see a rise is such poetry. After all, that is why we are here.
"An art historical study of Rembrandt's use of religious imagery, arranged by subject matter. Demonstrates the new ideas the artist brought to his interpretations of the Jerusalem Temple and the apostolate church, as he explored the relationship between Jewish and Christian revelation in biblical history"--Provided by publisher.
Towards the end of the eighteenth century, the concept of artistic genius was formulated and held up as the highest human species. Genius in art requires breaking the rules or exceeding them in ways that make them unrecognizable. There is a saying that "any sufficiently advanced skill is indistinguishable from magic." So when the Master in Art Alan De Mayo revolutionized art with his "Renaissance paintings," the response - from all art critics was total astonishment, and important critics of art named him as Rembrandt's successor.
Guilty until proven innocent . . . It's hard for anyone to have their work scrutinised in public. For Amsterdam-based detective Lotte Meerman, listening to the Right to Justice podcast as they dissect one of her old cases is made even more harrowing as every episode makes fresh accusations of a bungled operation. As the podcast reveals hidden facts about the arrest of Ruud Klaver, the one thing Lotte is still convinced of is that it was Ruud who was guilty of the murder of a student near Rembrandt Square ten years earlier. However, when Ruud Klaver then dies in suspicious circumstances, only hours after the final podcast proving his innocence is broadcast, Lotte has to accept that maybe she was wrong. With the dead man's family passionately against her inclusion in the investigation into his death, the only way for Lotte to discover who killed him is by finding out where she went wrong all those years ago - if indeed she did go wrong. As Lotte digs deeper and involves colleagues from her past, it starts to look like the murder in Rembrandt Square was part of an even bigger deception . . . Praise for Anja de Jager 'Captures the feel of Amsterdam . . . entirely convincing' Daily Mail '. . . a novel brilliantly evoking the isolation of a woman with an unbearable weight on her conscience' Sunday Times 'The book succeeds as a portrait of both a city and, in its heroine, a delightfully dysfunctional personality' Sunday Express 'An impressive debut . . . De Jager is as good on dodgy family relations as she is on police procedure' The Times 'Detective Lotte Meerman is damaged by her past and tortured by the dreadful mistake she's made at work . . . Amsterdam in the vicious grip of a bitter winter is the other star here, beautiful and deadly' Cath Staincliffe
A sensitive innocent, Hendrickje Stoffels escapes the harsh realities of her garrison home-town to take up a servant's role in Rembrandt's household. She soon becomes his lover and closest confidante, and plays witness to the highs and lows of the great artist's life. But Hendrickje is fated to discover the hypocrisy and greed of society in Amsterdam's Golden Age. In sensuous prose, Matton paints a powerful fictional portrait of this impassioned relationship through the eyes of a remarkable woman.