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| Rembrandt Bellona 1633 Metropolitan Museum |
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| Rembrandt Judith at the Banquet of Holofernes 1634 Prado |
"The effect of singularity and of individuality given off by Rembrandt's works is a product of this master's domination of the world he brought into the studio. Retirement to rule, and the delight mixed with the horror of discovering that the self alone is what one rules, is a familiar scenario from Prospero on his island to Monet in his garden. To these examples I would add Rembrandt in his studio. The nineteenth century credited Rembrandt with being uniquely in touch with something truer about the individual human state. I would put it differently. It is something stranger and more unsettling. Rembrandt was not the discoverer, but one of the inventors of that individual state. And so his late works became a touchstone for what western culture, from his day until our own, has taken as the irreducible uniqueness of the individual."
– Svetlana Alpers, from Rembrandt's Enterprise (University of Chicago Press, 1988)
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| Rembrandt Young Woman with a Fan 1633 Metropolitan Museum |
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| Rembrandt Young Woman Reading drawing 17th century Metropolitan Museum |
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| Rembrandt Self-portrait etching 1634 Metropolitan Museum (gift of Louisine Havemeyer) |
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| Rembrandt Self-portrait leaning on a stone sill etching 1639 Morgan Library |
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| Rembrandt Self-portrait drawing at a window etching 1648 Victoria & Albert Museum |
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| Rembrandt Portrait of a man 1632 Metropolitan Museum |
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| Rembrandt David & Goliath etching 1655 Victoria & Albert Museum |
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| follower of Rembrandt The Mocking of Christ drawing 1650s Getty |
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| Rembrandt Cottage near the Entrance to a Wood drawing 1644 Metropolitan Museum |