There is a popular and romantic myth about Rembrandt and the Jewish people. One of history's greatest artists, we are often told, had a special affinity for Judaism. With so many of Rembrandt's works devoted to stories of the Hebrew Bible, and with his apparent penchant for Jewish themes and the sympathetic portrayal of Jewish faces, it is no wonder that the myth has endured for centuries. Rembrandt's Jews puts this myth to the test as it examines both the legend and the reality of Rembrandt's relationship to Jews and Judaism. In his elegantly written and engrossing tour of Jewish Amsterdam—which begins in 1653 as workers are repairing Rembrandt's Portuguese-Jewish neighbor's house and completely disrupting the artist's life and livelihood—Steven Nadler tells us the stories of the artist's portraits of Jewish sitters, of his mundane and often contentious dealings with his neighbors in the Jewish quarter of Amsterdam, and of the tolerant setting that city provided for Sephardic and Ashkenazic Jews fleeing persecution in other parts of Europe. As Nadler shows, Rembrandt was only one of a number of prominent seventeenth-century Dutch painters and draftsmen who found inspiration in Jewish subjects. Looking at other artists, such as the landscape painter Jacob van Ruisdael and Emmanuel de Witte, a celebrated painter of architectural interiors, Nadler is able to build a deep and complex account of the remarkable relationship between Dutch and Jewish cultures in the period, evidenced in the dispassionate, even ordinary ways in which Jews and their religion are represented—far from the demonization and grotesque caricatures, the iconography of the outsider, so often found in depictions of Jews during the Middle Ages and the Renaissance. Through his close look at paintings, etchings, and drawings; in his discussion of intellectual and social life during the Dutch Golden Age; and even through his own travels in pursuit of his subject, Nadler takes the reader through Jewish Amsterdam then and now—a trip that, under ever-threatening Dutch skies, is full of colorful and eccentric personalities, fiery debates, and magnificent art.

Through a look at Rembrandt's various artwork and social life, Nadler takes readers through Jewish Amsterdam then and now.

"This book embeds Rembrandt's art in the pluralistic religious context of seventeenth-century Amsterdam, arguing for the restoration of this historical dimension to contemporary discussions of the artists. By incorporating this perspective, Zell confirms and revises one of the most forceful myths attached to Rembrandt's art and life: his presumed attraction and sensitivity to the Jews of early modern Amsterdam."--BOOK JACKET.

Investigates Rembrandt's connection with Judaism.

"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.

Presents and explores the seven known oil sketches of Christ on oak panels by Rembrandt, along with over 60 paintings, drawings and prints by him and his pupils.

"Padura’s Heretics spans and defies literary categories . . . ingenious." —Maureen Corrigan, Fresh Air A sweeping novel of art theft, anti-Semitism, contemporary Cuba, and crime from a renowned Cuban author, Heretics is Leonardo Padura's greatest detective work yet. In 1939, the Saint Louis sails from Hamburg into Havana’s port with hundreds of Jewish refugees seeking asylum from the Nazi regime. From the docks, nine-year-old Daniel Kaminsky watches as the passengers, including his mother, father, and sister, become embroiled in a fiasco of Cuban corruption. But the Kaminskys have a treasure that they hope will save them: a small Rembrandt portrait of Christ. Yet six days later the vessel is forced to leave the harbor with the family, bound for the horrors of Europe. The Kaminskys, along with their priceless heirloom, disappear. Nearly seven decades later, the Rembrandt reappears in an auction house in London, prompting Daniel’s son to travel to Cuba to track down the story of his family’s lost masterpiece. He hires the down-on-his-luck private detective Mario Conde, and together they navigate a web of deception and violence in the morally complex city of Havana. In Heretics, Leonardo Padura takes us from the tenements and beaches of Cuba to Rembrandt’s gloomy studio in seventeenth-century Amsterdam, telling the story of people forced to choose between the tenets of their faith and the realities of the world, between their personal desires and the demands of their times. A grand detective story and a moving historical drama, Padura’s novel is as compelling, mysterious, and enduring as the painting at its center.

Set in one day in 1632, The Anatomy Lesson is a stunning portrayal of Golden Age Amsterdam and a brilliantly imagined back-story to Rembrandt's first great work of art. Told from several points of view, ranging from a curio dealer who collects bodies for the city’s chief anatomist to philosopher Rene Descartes, the novel opens on the morning of the medical dissection that is to be recorded by the twenty-six-year-old artist from Leiden who has yet to attach his famous signature to a painting. As the story builds to its dramatic and inevitable conclusion, the events that transpire throughout the day sway Rembrandt to make fundamental changes to his initial composition. These changes will remain mysteries for centuries until a young art historian closely examines the painting in the twenty-first century, and makes surprising discoveries about the painter, his process, and his genius for capturing enduring truths about human nature in a single moment.

When Rembrandt the bear loses his special lucky hat, he finds that neither a bird nor a clown hat can replace it.

For Rembrandt, as for Shakespeare, all the world was indeed a stage, and he knew in exhaustive detail the tactics of its performance: the strutting and mincing, the wardrobe and face-paint, the full repertoire and gesture and gimace, the flutter of hands and the roll of the eyes, the belly-laugh and the half-stifled sob. He knew what it looked like to seduce, to intimidate, to wheedle and to console; to strike a pose or preach a sermon, to shake a fist or uncover a breast; and how to sin and how to atone. No artist had ever been so fascinated by the fashioning of personae, beginning with his own. No painter ever looked with such unsparing intelligence or such bottomless compassion at our entrances and our exits and the whole rowdy show in between.