Middle Period
Many of Rembrandt’s paintings of the 1640’s 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 Rembrandts 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 Rembrandts 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, Louvre), Rembrandt’s use of light immediately conveys the meaning of the scene. more...