Rembrandt Harmenszoon van Rijn in one of the best expertly researched (visual) artists in history.[1][2][3] His life and work have long attracted the attention of multidisciplinary scholarship. The field of Rembrandt studies (i.e. study of Rembrandt's life and work) — as an academic field in its own right with many noted Rembrandt scholars — has been very dynamic and well published since the Dutch Golden Age.

The following is a list of notable Rembrandt experts (e.g. connoisseurs and scholars).

See also

References

  1. ^ Golahny, Amy (2001), 'The Use and Misuse of Rembrandt: An Overview of Popular Reception,'. Dutch Crossing: Journal of Low Countries Studies 25(2): 305–322
  2. ^ Scallen, Catherine: Rembrandt, Reputation, and the Practice of Connoisseurship. (Amsterdam: Amsterdam University Press, 2004)
  3. ^ Franits, Wayne (ed.): The Ashgate Research Companion to Dutch Art of the Seventeenth Century. (Burlington, VT: Ashgate, 2016)
  4. ^
    • Bauch, Kurt: Die Kunst des Jungen Rembrandt. (Heidelberg: Winter, 1933) [in German]
    • Bauch, Kurt: Der frühe Rembrandt und seine Zeit. Studien zur geschichtlichen Bedeutung seines Frühstils. (Berlin: Verlag Gebr. Mann, 1960) [in German]
    • Bauch, Kurt: Rembrandt Gemälde. (Berlin: W. de Gruyter, 1966) [in German]
    • Bauch, Kurt (1967), 'Ikonographischer Stil: Zur Frage der Inhalte in Rembrandt's Kunst,'. In: Studien zur Kunstgeschichte. (Berlin: De Grayter, 1967), pp. 123–151. [in German]
  5. ^
    • Benesch, Otto: Rembrandt: Werk und Forschung. (Vienna, 1935) [in German]
    • Benesch, Otto: The Drawings of Rembrandt: First Complete Edition in Six Volumes. (London: Phaidon, 1954–57)
    • Benesch, Otto: Rembrandt as a Draughtsman: An Essay with 115 Illustrations. (London: Phaidon Press, 1960)
    • Benesch, Otto: The Drawings of Rembrandt. A Critical and Chronological Catalogue [2nd ed., 6 vols.]. (London: Phaidon, 1973)
    • Benesch, Otto (1956), 'Worldly and Religious Portraits in Rembrandt's Late Art,'. The Art Quarterly 19: 335–355
    • Benesch, Otto (1970), 'Rembrandt's Artistic Heritage: From Goya to Cézanne,'. (Collected Writings, vol. 1, New York, 1970, pp. 57–82)
    • Benesch, Otto (1973), 'Rembrandts Bild bei Picasso,'; in Benesch's Collected Writings, vol. 4 (London, 1973) [in German]
  6. ^
    • Berger, Jr., Harry: Fictions of the Pose: Rembrandt Against the Italian Renaissance. (Stanford, California: Stanford University Press, 2000) ISBN 978-0804733243
    • Berger, Jr., Harry: Manhood, Marriage, and Mischief: Rembrandt's "Night Watch" and Other Dutch Group Portraits. (New York: Fordham University Press, 2007) ISBN 978-0-8232-2557-6
    • Berger, Jr., Harry: The Perils of Uglytown: Studies in Structural Misanthropology from Plato to Rembrandt. (New York: Fordham University Press, 2015)
  7. ^
    • Bevers, Holm: Rembrandt: Die Zeichnungen im Berliner Kupferstichkabinett [Kritischer Katalog]. (Ostfildern: Hatje Cantz, 2006) [in German]
    • Bevers, Holm; Kettner, Jasper; Metze, Gudula (eds.): Rembrandt. Ein Virtuose der Druckgraphik. (Kupferstichkabinett, Staatliche Museen zu Berlin, 2006) [in German]
    • Bevers, Holm: Rembrandt: Drawings from the Berlin Kupferstichkabinett. (Ostfildern: Hatje Cantz, 2007) ISBN 9783775719247
    • Bevers, Holm; Rumberg, Per: Rembrandt's First Masterpiece [exh. cat.]. (New York: Morgan Library and Museum, 2016)
    • Bevers, Holm; et al.: Drawings by Rembrandt and His Pupils: Telling the Difference. (Los Angeles, CA: The J. Paul Getty Museum, 2009)
    • Bevers, Holm; Kelch, Jan; Lindemann, Bernd Wolfgang; Seifert, Christian Tico (eds.): Rembrandt – Wissenschaft auf der Suche. Beiträge des Internationalen Symposiums Berlin, 4.-5. November 2006 [Jahrbuch der Berliner Museen. Neue Folge. Vol. 51, Beiheft]. (Berlin: Gebr. Mann Verlag, 2009) ISBN 978-3-7861-2563-1 [in German]
  8. ^
    • Białostocki, Jan; Michałkowa, Janina (eds.): Rembrandt w oczach współczesnych. (Warszawa: Państwowy Instytut Wydawniczy, 1957) [in Polish]
    • Białostocki, Jan (1957), 'Bellori's Caravaggio and Sandrart's Rembrandt,'. Burlington Magazine 99(653): 274–275
    • Białostocki, Jan (1957), 'Ikonographische Forschungen zu Rembrandts Werk,'. Münchner Jahrbuch der Bildenden Kunst 8: 195–210. [in German]
    • Białostocki, Jan (1966), 'Rembrand's "Terminus": To Wolfgang Stechow,'. Wallraf-Richartz-Jahrbuch 28: 49–60
    • Białostocki, Jan (1968), 'Rembrandt's 'Eques Polonus','. Oud Holland: Journal for Art of the Low Countries 84(2/3): 163–176. JSTOR 42712350
    • Białostocki, Jan (1972), 'Rembrandt and Posterity,'. Nederlands Kunsthistorisch Jaarboek 23 (1972): 131–157. JSTOR 24705655
    • Białostocki, Jan (1973), 'Der Sünder als tragischer Held bei Rembrandt. Bemerkungen zu neueren ikonographischen Studien über Rembrandt,'; in: von Simson, Otto Georg; Kelch, Jan (hrsg.): Neue Beiträge zur Rembrandt-Forschung. (Berlin: Mann, 1973), pp. 137–154. [in German]
    • Białostocki, Jan (1984), 'A New Look at Rembrandt Iconography,'. Artibus et Historiae 5(10): 9–19
  9. ^
    • Bockemühl, Michael: Rembrandt: Zum Wandel des Bildes und seiner Anschauung im Spätwerk. (Mittenwald: Mäander Verlag, 1981) [in German]
    • Bockemühl, Michael: Rembrandt, 1606–1669. Das Rätsel der Erscheinung. (Köln: Benedikt Taschen Verlag, 1991) [in German]
  10. ^
    • Von Bode, Wilhelm; de Groot, Cornelis Hofstede: The Complete Work of Rembrandt: History, Description and Heliographic Reproduction of All the Master's Pictures, with a Study of His Life and Art. [8 vols.]. (Paris: Charles Sedelmeyer, 1897–1906)
    • Von Bode, Wilhelm: Rembrandt und seine Zeitgenossen: Charakterbilder der grossen Meister der holländischen und vlämischen Malerschule im siebzehnten Jahrhundert. (Leipzig: E. A. Seemann Verlag, 1907) [in German]
    • Von Bode, Wilhelm: Studien zur Geschichte der holländischen Malerei [Studies in the history of Dutch painting]. (Brunswick: Friedrich Viewege, 1883) [in German]
  11. ^
  12. ^
    • Bredius, Abraham: The Paintings of Rembrandt. (London: Phaidon, 1937)
    • Bredius, Abraham: Rembrandt: The Complete Edition of the Paintings, 3rd ed. [Revised by Horst Gerson]. (London: Phaidon Press, 1969)
  13. ^
    • Broos, B.P.J.: Oude tekeningen in het bezit van de Gemeentemusea van Amsterdam waaronder de collectie Fodor [Deel 3]: Rembrandt en tekenaars uit zijn omgeving. (Amsterdam: Amsterdams Historisch Museum, 1981) [in Dutch]
    • Broos, B.P.J.: Rembrandt en zijn voorbeelden [Rembrandt and his sources]. (Amsterdam: Museum Het Rembrandthuis, 1985) [in Dutch]
    • Broos, B.P.J.: Rembrandt studies. (Ph.D. diss., Universiteit Utrecht, 1977) [in Dutch]
    • Broos, B.P.J.: Index to the Formal Sources of Rembrandt's Art. (Maarssen, Netherlands: Gary Schwartz, 1977)
    • Broos, B.P.J.: Het Rembrandt boek. (Zwolle: Waanders, 2006) ISBN 9040091110 [in Dutch]
    • Broos, B.P.J.: Saskia, de vrouw van Rembrandt. (Zwolle: Wbooks, 2012) [in Dutch]
    • Broos, B.P.J. (1971), 'The 'O' of Rembrandt,'. Simiolus: Netherlands Quarterly for the History of Art 4(3): 150–84
    • Broos, B.P.J. (1974), 'Rembrandt's Portrait of a Pole and His Horse,'. Simiolus: Netherlands Quarterly for the History of Art 7(4): 192–218
    • Broos, B.P.J. (1976), 'Rembrandt and Lastman's "Coriolanus": The History Piece in 17th-Century Theory and Practice,'. Simiolus: Netherlands Quarterly for the History of Art 8(4): 199–228
    • Broos, B.P.J. (1999), 'Rembrandt and His Picturesque Universe: The Artist's Collection as a Source of Inspiration,'. In: Rembrandt's Treasures, ed. Bob van den Boogert [exh. cat.]. (Amsterdam: Rembrandt House Museum; Zwolle: Waanders Publishers, 1999), pp. 91–13
    • Broos, B.P.J. (2009), 'Rembrandt & Saskia: Recent Research,'. Jahrbuch der Berliner Museen 51. Bd., Beiheft. Rembrandt — Wissenschaft auf der Suche. Beiträge des Internationalen Symposiums Berlin — 4. und 5. November 2006 (2009): 9–15. JSTOR 25674330
    • Broos, B.P.J. (2013), 'The Young Samuel van Hoogstraten Corrected by Rembrandt,'. In: The Universal Artof Samuel van Hoogstraten (1627–1678): Painter, Writer and Courtier, edited by Thijs Weststeijn. (Amsterdam: Amsterdam University Press, 2013), pp. 77–95
  14. ^
    • Bruyn, J.; et al.: A Corpus of Rembrandt Paintings [Volume I, Stichting Foundation Rembrandt Research Project]. (The Hague/Dordrecht/Boston: Martinus Nijhoff, 1982)
    • Bruyn, J.; et al.: A Corpus of Rembrandt Paintings [Volume II, Stichting Foundation Rembrandt Research Project]. (Dordrecht/Boston: Martinus Nijhoff, 1982)
    • Bruyn, J. (1970), 'Rembrandt and the Italian Baroque,'. Simiolus: Netherlands Quarterly for the History of Art 4: 28–48
    • Bruyn, J. (1990), 'An Unknown Assistant in Rembrandt's Workshop in the Early 1660s,'. The Burlington Magazine 132(1051): 714–718
  15. ^
    • Carroll, Margaret D.: Rembrandt's Nightwatch and the Iconological Traditions of Militia Company Portraiture in Amsterdam. (Ph.D. diss., Harvard University, 1976)
    • Carroll, Margaret D.: Painting and Politics in Northern Europe: Van Eyck, Bruegel, Rubens, and Their Contemporaries. (University Park, PA: Penn State University Press, 2008) ISBN 9780271029559
    • Carroll, Margaret D. (1981), 'Rembrandt as Meditational Printmaker,'. The Art Bulletin 63(4): 585–610
    • Carroll, Margaret D. (1984), 'Rembrandt's "Aristotle": Exemplary Beholder,'. Artibus et Historiae 5(10): 35–56
    • Carroll, Margaret D. (2017), 'The Blade and the Brush: Rembrandt's Slaughtered Ox and Anatomy of Doctor Deyman'. Oxford Art Journal 40(3): 347–369. doi:10.1093/oxartj/kcx035
  16. ^
    • Chapman, H. Perry: The Image of the Artist: Roles and Guises in Rembrandt's Self-Portraits. (Ph.D. diss., Princeton University, 1983)
    • Chapman, H. Perry: Rembrandt's Self-Portraits: A Study Seventeenth-Century Identity. (Princeton, N.J.: Princeton University Press, 1990)
    • Chapman, H. Perry (2005), 'The Imagined Studios of Rembrandt and Vermeer,'. In: Inventions of the Studio, Renaissance to Romanticism, edited by Michael Cole and Mary Pardo. (Chapel Hill, NC: University of North Carolina Press, 2005), pp. 108–46
    • Chapman, H. Perry (2010), 'Reclaiming the Inner Rembrandt: Passion and Rembrandt's Earliest Self-Portraits,'. In: The Passions in the Art of the Early Modern Netherlands, edited by Herman Roodenburg and Stephanie Dickey. Nederlands Kunsthistorisch Jaarboek 60 (2010): 188–215
    • Chapman, H. Perry (2014), 'Rembrandt's Laughter and the Love of Art,'. In: Midwestern Arcadia: Essays in honor of Alison Kettering. Northfield, 2014
    • Chapman, H. Perry (2014), 'Rembrandt and Caravaggio: Emulation without Imitation,'. In: Caravaggio: Reflections and Refractions, edited by Lorenzo Pericolo and David M. Stone. (Aldershot and Burlington, VT: Ashgate, 2014), pp. 273–300
    • Chapman, H. Perry (2017), 'Rubens, Rembrandt, and the Spousal Model/Muse,'. In: Melion, Walter; Woodall, Joanna; Zell, Michael: Ut pictura amor: The Reflexive Imagery of Love in Artistic Theory and Practice, 1500–1700. (Leiden: Brill, 2017)
  17. ^
    • Crenshaw, Paul: Rembrandt's Bankruptcy. (Ph.D. thesis, Institute of Fine Arts, New York University, 2000)
    • Crenshaw, Paul: Rembrandt's Bankruptcy: The Artist, his Patrons, and the Art market in Seventeenth-Century Netherlands. (Cambridge and New York: Cambridge University Press, 2006) ISBN 978-0521858250
    • Crenshaw, Paul; Herndon-Consagra, Francesca: Rembrandt: Master Etchings from St. Louis Collections [exh. cat.]. (St. Louis, Missouri: St. Louis Art Museum, 2006)
    • Crenshaw, Paul (2001), 'Rembrandt's Disputes with His Patrons,'. Dutch Crossing: A Journal of Low Countries Studies 25(2): 162–99. doi:10.1080/03096564.2001.11730797
    • Crenshaw, Paul (2013), 'The Catalyst for Rembrandt's Satire on Art criticism,'. JHNA: Journal of Historians of Netherlandish Art 5(2). doi:10.5092/jhna.2013.5.2.9
    • Crenshaw, Paul (2017), 'Rembrandt and Hals Visit the Arundel Collection,'. JHNA: Journal of Historians of Netherlandish Art 9(1). doi:10.5092/jhna.2017.9.1.7
  18. ^
    • De Winkel, Marieke; Manuth, Volker: Rembrandt's Minerva in Her Study of 1635: The Splendor and Wisdom of a Goddess. (New York: Otto Naumann, 2002)
    • De Winkel, Marieke: Fashion and Fancy: Dress and Meaning in Rembrandt's Paintings. (Amsterdam: Amsterdam University Press, 2006) ISBN 90-5356-917-0
    • De Winkel, Marieke; Manuth, Volker: Rembrandt: The Self-Portraits. (London: Taschen, 2019) ISBN 3836577003
    • De Winkel, Marieke; Manuth, Volker; van Leeuwen, Rudie: Rembrandt: The Complete Paintings. (London: Taschen, 2019) ISBN 3836526328
    • De Winkel, Marieke (2005), "Rembrandt's Clothes: Dress and Meaning in His Self-Portraits,". In: Stichting Foundation Rembrandt Research Project, A Corpus of Rembrandt Paintings, 6 vols., ed. Josua Bruyn et al. (Dordrecht, Boston, and London, 1982–2014), 4: 45–87
  19. ^
    • Dickey, Stephanie S.: Rembrandt Harmensz van Rijn: The Illustrated Bartsch, Vol. 50 [Supplement]. (New York: Abaris Books, 1993)
    • Dickey, Stephanie S.: Prints, Portraits and Patronage in Rembrandt's Work around 1640. (Ph.D. diss., New York University, 1994)
    • Dickey, Stephanie S.: Rembrandt: Portraits in Print. (Amsterdam/Philadelphia: John Benjamins, 2004)
    • Dickey, Stephanie S.: Rembrandt Face to Face. (Indianapolis, IN: Indianapolis Museum of Art, 2006)
    • Dickey, Stephanie S. (1986), 'Judicious Negligence: Rembrandt Transforms an Emblematic Convention,'. Art Bulletin 68: 253–262
    • Dickey, Stephanie S. (1996), 'Mennonite Martyrdom in Amsterdam and the Art of Rembrandt and His Contemporaries,'. Proceedings of the American Association of Netherlandic Studies 9: 81–103
    • Dickey, Stephanie S. (2007), 'Rethinking Rembrandt's Renaissance,'. Canadian Journal of Netherlandic Studies 21: 1–22
    • Dickey, Stephanie S. (2011), 'Saskia as Glycera: Rembrandt's Emulation of an Antique Prototype,'. In: Anton Boschloo, et al. (eds.), Aemulatio: Emulation, Imitation, and Invention in Netherlandish Art. (Amsterdam: Waanders, 2011), pp. 233–247
    • Dickey, Stephanie S. (2012), 'Strategies of Self-Portraiture from Hans von Aachen to Rembrandt,'. In: Lubmomír Konecny & Stepán Vácha (eds.), Hans von Aachen in Context: Proceedings of the International Conference, Prague, 22–25 September 2010. (Prague: Artefactum, 2012), pp. 72–81
    • Dickey, Stephanie S. (2013), 'Begging for Attention: The Artful Context of Rembrandt's Etching Beggar Seated on a Bank,'. JHNA: Journal of Historians of Netherlandish Art 5(2). doi:10.5092/jhna.2013.5.2.8
    • Dickey, Stephanie S. (2015), 'Contentione perfectus: Rembrandt and Annibale Carracci,'. In: Una Roman D'Elia (ed.), Rethinking Renaissance Drawings: Essays in Honour of David McTavish. (Montreal: McGill/Queens Press, 2015), pp. 262–277
    • Dickey, Stephanie S. (2016), 'Rembrandt and his Circle,'. In: Wayne Franits (ed.), The Ashgate Research Companion to Dutch Art of the Seventeenth Century. (Aldershot: Ashgate, 2016), pp. 169–201
    • Dickey, Stephanie (2017), 'Disgust and Desire: Responses to Rembrandt's Nudes,'. In: Debra Cashion, Henry Luttikhuizen and Ashley West, The Primacy of the Image in Northern European Art, 1400–1700. Essays in Honor of Larry Silver. (Brill, 2017) ISBN 978-90-04-35412-8), pp. 447–460
    • Dickey, Stephanie (2017), 'Agape, Caritas, and Conjugal Love in Paintings by Rembrandt and Van Dyck,'. In: Walter S. Melion, Joanna Woodall, and Michael Zell (eds.), Ut Pictura Amor: The Reflexive Imagery of Love in Artistic Theory and Practice, 1500–1700. (Leiden/Boston: Brill, 2017), pp. 299–323
    • Dickey, Stephanie S. (2017), 'Introduction: Rising Stars in Rembrandt's Amsterdam,'. In: Stephanie S. Dickey (ed.), Ferdinand Bol and Govert Flinck: New Reearch. (Zwolle: W. Books, 2017), pp. 6–19
  20. ^
    • Golahny, Amy: Rembrandt's Paintings and the Venetian Tradition. (Ph.D. diss., Columbia University, 1984)
    • Golahny, Amy: Rembrandt's Reading: The Artist's Bookshelf of Ancient Poetry and History. (Amsterdam: Amsterdam University Press, 2003) ISBN 90-5356-609-0
    • Golahny, Amy (1983), 'Rembrandt's Early 'Bathsheba': The Raphael Connection,'. The Art Bulletin 65(4): 671–675. doi:10.1080/00043079.1983.10788120
    • Golahny, Amy (1999), 'Rembrandt's Practical Approach to Italian Art: Three Variations,'. The Low Countries 7: 123–31
    • Golahny, Amy (2000), 'Rembrandt's "Artemisia": Arts Patron,'. Oud Holland 14(2/4): 139–152. JSTOR 42712021
    • Golahny, Amy (2001), 'Reception: Reflections on Rembrandt,'. Dutch Crossing: Journal of Low Countries Studies 25(2): 159–161. doi:10.1080/03096564.2001.11730796
    • Golahny, Amy (2001), 'The Use and Misuse of Rembrandt: An Overview of Popular Reception,'. Dutch Crossing: Journal of Low Countries Studies 25(2): 305–322
    • Golahny, Amy (2002), 'Rembrandt's Drawing of "Pyrrhus and Fabricius": A New Interpretation,'. Master Drawings 40(3): 243–248. JSTOR 1554524
    • Golahny, Amy (2007), 'Selective Attention: Julius S. Held's Rembrandt Studies,'. Oud Holland: Journal for Art of the Low Countries 120(3/4): 181–190. JSTOR 42711736
    • Golahny, Amy (2009), 'Rembrandt and Italy: Beyond the disegno-colore Paradigm,'. Jahrbuch der Berliner Museen Neue Folge 51: 113–120
    • Golahny, Amy (2011), 'Rembrandt's Callisto: Unusual but not Unique,'. In: A. Boschloo, et al. (eds.): Aemulatio, Imitation, Emulation and Invention in Netherlandish Art from 1500 to 1800. Essays in honor of Eric Jan Sluijter. (Zwolle: Waanders, 2011), pp. 318–25
    • Golahny, Amy (2012), 'Lievens and Rembrandt: Parallels and Divergences,'. The Low Countries 20: 189–92
    • Golahny, Amy (2016), 'Rembrandt and "Everyday Life": The Fusion of Genre and History,'. In: Genre Imagery in Early Modern Northern Europe: New Perspectives, edited by Arthur J. DiFuria. (New York: Routledge, 2016), pp. 161–183
    • Golahny, Amy (2017), 'Early Reception of Rembrandt's Hundred Guilder Print: Jan Steen's Emulation,'. JHNA: Journal of Historians of Netherlandish Art 9(1). doi:10.5092/jhna.2017.9.1.10
  21. ^
    • Haverkamp-Begemann, Egbert; Judson, J. Richard; Logan, Anne-Marie: Rembrandt after Three Hundred Years: An Exhibition of Rembrandt and His Followers. (Chicago: Art Institute of Chicago, 1969)
    • Haverkamp-Begemann, Egbert: Rembrandt's The Nightwatch. (Princeton, NJ: Princeton University Press, 1982)
    • Haverkamp-Begemann, Egbert (1963), 'Rembrandt's So-Called Portrait of Anna Wymer as Minerva,'. In: Studies in Western Art: Acts of the Twentieth International Congress of the History of Art, New York, 1961, 3: 59–63
    • Haverkamp-Begemann, Egbert (1967), 'Purpose and Style: Oil Sketches of Rubens, Jan Brueghel, Rembrandt,'. In: Akten des 21. Internationalen Kongresses für Kunstgeschichte in Bonn 1964: Stil und Überlieferung in der Kunst des Abendlandes, 3: 104–13
    • Haverkamp-Begemann, Egbert (1971), 'The Present State of Rembrandt Studies,'. The Art Bulletin 53(1): 88–104
    • Haverkamp-Begemann, Egbert (1971), 'The Sketch, Its Function in the Hands of Three Masters: Rubens, Rembrandt, Jan Brueghel,'. Art News Annual 37: 57–74
    • Haverkamp-Begemann, Egbert (1972), 'Rembrandt as Teacher,'. In: Actes du XXIIe Congres International d'histoire de l'art. Budapest 1969: Evolution generale et développements régionaux en histoire de l'art, edited by György Rósza, pp. 105–13
    • Haverkamp-Begemann, Egbert (1973), 'Rembrandt's Night Watch and the Triumph of Mordecai,'. In: Album Amicorum J. G. van Gelder, edited by Joos Bruyn, et al., (The Hague: Martinus Nijhoff, 1973), pp. 5–8
    • Haverkamp-Begemann, Egbert (1989), 'Rembrandt as a Draughtsman: The Changing Image 1956–1988,'. Master Drawings 27(2): 105–10
    • Haverkamp-Begemann, Egbert (2005), 'Rembrandt's Drawing The Raising of the Cross in the Museum of Fine Arts, Boston,'. In: The Learned Eye: Regarding Art, Theory, and the Artist’s Reputation. Essays for Ernst van de Wetering, edited by Marieke van den Doel, et al. (Amsterdam: Amsterdam University Press, 2005), pp. 39–46
  22. ^
    • Held, Julius S.: Rembrandt and the Book of Tobit. (Northampton, MA: The Gehenna Press, 1964)
    • Held, Julius S.: Rembrandt's Aristotle and Other Rembrandt Studies. (Princeton, N.J.: Princeton University Press, 1969)
    • Held, Julius S.: Rembrandt-Studien. (Leipzig: E. A. Seemann Verlag, 1983) [in German]
    • Held, Julius S.: Rembrandt Studies, revised and expanded edition. (Princeton, N.J.: Princeton University Press, 1991)
    • Held, Julius S. (1944), 'Rembrandt's "Polish" Rider,'. The Art Bulletin 26(4): 246–265
    • Held, Julius S. (1984), 'A Rembrandt "Theme",'. Artibus et Historiae 5(10): 21–34
  23. ^
    • Hinterding, Erik: The Fortunes of Rembrandt's Copper Plates. (Amsterdam: Museum Het Rembrandthuis, 1993)
    • Hinterding, Erik: Rembrandt als etser. Twee studies naar de praktijk van productie en verspreiding. (Ph.D. diss., Universiteit Utrecht, 2001) [in Dutch]
    • Hinterding, Erik: Rembrandt as an Etcher: The Practice of Production and Distribution. (Ouderkerk aan den IJssel, Netherlands: Sound and Vision Publishers, 2006)
    • Hinterding, Erik; Schatborn, Peter: Rembrandt: The Complete Drawings and Etchings. (London: Taschen, 2019) ISBN 9783836575447
  24. ^
    • Rembrandt's Jews (University of Chicago Press, 2003) - Finalist for the Pulitzer Prize for General Non-Fiction in 2004.[10] ISBN 0-226-56737-0
    • Steven Nadler and Victor Tiribás (2021). Rembrandt’s Etchings for Menasseh ben Israel’s Piedra Gloriosa: A Mystery Solved? Kroniek van het Rembrandthuis 2021, 1-17, https://doi.org/10.48296/KvhR2021.01
  25. ^
    • Perlove, Shelley: By this blood most chaste…’: Passion and Politics in Rembrandt’s Lucretia of 1666, in Walter S. Melion and Art di Furia, eds. Ekphrastic Image-Making in the Early Modern Europe and the Americas 1500-1700. Leiden, Brill: 2022, Chapter 15, 650-684.
    • Perlove, Shelley: An Irenic Vision of Utopia: Rembrandt's Triumph of Mordecai and the New Jerusalem. Zeitschrift für Kunstgeschichte, vol. 56 (1993): 38-60.
    • Perlove, Shelley; Silver, Larry: Rembrandt's Faith: Church and Temple in the Dutch Golden Age. (University Park, PA: Pennsylvania State University Press, 2009) ISBN 978-0-271-03406-5
    • Perlove, Shelley; Silver, Larry (2007), 'Rembrandt and the Dutch Catholics,'. Canadian Journal of Netherlandic Studies / Revue canadienne d'études néerlandaises 28: 53–75
  26. ^
    • Rosenberg, Jakob: Rembrandt [2 vols.]. (Cambridge, MA: Harvard University Press, 1948)
    • Rosenberg, Jakob: Rembrandt: Life and Work [revised edition]. (Ithaca, NY: Cornell University Press, 1980)
    • Rosenberg, Jakob (1956), 'Rembrandt the Draughtsman with Consideration of the Problem of Authenticity,'. Daedalus 86(2): 122–136
  27. ^
    • Royalton-Kisch, Martin: Drawings by Rembrandt and His Circle in the British Museum. (London: British Museum Press, 1992)
    • Royalton-Kisch, Martin; Hinterding, E.; Luijten, G.: Rembrandt the Printmaker. (British Museum Press, 2000)
    • Ekserdjian, David; Royalton-Kisch, Martin (2000), 'The Entombment of Christ: A Lost Mantegna Owned by Rembrandt?,'. Apollo 151(457): 52–56
    • Royalton-Kisch, Martin (1989), 'Rembrandt's Sketches for His Paintings,'. Master Drawings 27(2): 128–145
    • Royalton-Kisch, Martin (1991), 'Rembrandt's Drawing of "The Entombment of Christ" over "The Raising of Lazarus",'. Master Drawings 29(3): 263–283
    • Royalton-Kisch, Martin (1993), 'Rembrandt, Zomer, Zanetti and Smith,'. Print Quarterly 10(2): 111–122
    • Royalton-Kisch, Martin (2000), 'From Rembrandt to Van Renesse: Some Re-Attributed Drawings,'. The Burlington Magazine 142(1164): 157–164
    • Royalton-Kisch, Martin; Schatborn, Peter (2011), 'The Core Group of Rembrandt Drawings, II: The List,'. Master Drawings 49(3): 323–346
  28. ^
    • Scallen, Catherine B.: Rembrandt and Saint Jerome. (Ph.D. diss., Princeton University, 1990)
    • Scallen, Catherine B.: Rembrandt, Reputation, and the Practice of Connoisseurship. (Amsterdam: Amsterdam University Press, 2004)
    • Scallen, Catherine B. (1997), 'Rembrandt's Nocturne Prints,'. Art On Paper 1(3): 13–17
    • Scallen, Catherine B. (1998), 'Rembrandt and the Northern Renaissance,'. In: Laurinda S. Dixon, ed., In Detail: New Studies of Northern Renaissance Art in Honor of Walter S. Gibson, Turnhout, 1998, pp. 135–150
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