Историческая живопись после 1630 года

Bruyn Josua. Rembrandt’s keuze van Bijbelse onderwerpen, Utrecht, 1959; Gage John. A Note on Rembrandt’s «Meeste Ende die Naetureelste Beweechgelickheijt» // Burlington Magazine 111 (Mar. 1976): 128–138; Halewood William H. Six Subjects of Reformation Art: A Preface to Rembrandt. Toronto, 1982; Visser ‘t Hooft William. Rembrandt and the Gospel. London, 1957; Manke Use. Zu Rembrandts «Jakobsegen» in der Kasseler Galerie // Zeitschrift für Kunstgeschichte 23 (1960): 252–260; Rijckevorsel Joannes Leo Antonius Aloysius Maria van. Rembrandt en de Traditie. Rotterdam, 1932; Russell Margarita. The Iconography of Rembrandt’s «Rape of Ganymede» // Simiolus (1977): 5–18; Sass Else Kai. Comments on Rembrandt’s Passion Paintings and Constantin Huygens’ Iconography // Det kon‑gelige danske videnskabernes selskab: Historisk‑filosofiske skrifter 5.3 (Copenhagen, 1971); Slive Seymour. Notes on the Relationship of Protestantism to Seventeenth‑Century Dutch Painting // Art Quarterly 19 (1956): 2–15; Stechow Wolfgang. Rembrandt’s Representations of the «Raising of Lazarus» // Bulletin of the Los Angeles County Museum (1973): 7–11; Tümpel Astrid, Tümpel Сhristian. Rembrandt legt die Bibel aus. Berlin, 1970; Tümpel Сhristian. Studien zur Ikonographie der Historien Rembrandts // Nederlands Kunsthistorisch Jaarboek 29 (1969): 107–198; Wheelock Jr. Arthur K. Rembrandt and the Rembrandt School // Gods, Saints and Heroes: Dutch Painting in the Age of Rembrandt / Ed. Albert Blankert et al.: Exhibition catalogue. Washington D. C.; Detroit; Amsterdam: National Gallery of Art, Detroit Institute of Arts, and Rijksmuseum, 1981. P. 137–182.

Слепота

Bal Mieke. Reading Rembrandt: Beyond the Word‑Image Opposition. Cambridge, 1991; Derrida Jacques. Memoirs of the Blind: The Self‑portrait and Other Ruins / Trans. Pascale‑Anne Brault, Michael Naas. Chicago; London, 1973; Heinemann M. H., Pinell‑Staehle H. C. Rembrandt van Rijn and Cataract Surgery in Seventeenth‑Century Amsterdam // Historia Ophthalmologica Internationalis 2 (1981): 85–93; Held Julius S. Rembrandt and the Book of Tobit // Rembrandt Studies, Princeton, 1991. P. 118–143; Hellerstedt Kahren Jones. The Blind Man and His Guide in Netherlandish Painting // Simiolus 13 (1983): 163–181; Manuth Volker. Die Augen des Sünders – Überlegungen zu Rembrandts «Blendung Samsons» von 1636 in Frankfurt // Artibus et Historiae 21 (1990): 169–198; Trevor‑Roper Patrick. The World Through Blunted Sight. London, 1970.

Нагота

Rembrandt’s «Bathsheba Reading King David’s Letter» / Ed. Ann Jensen Adams. Cambridge, 1998; Aleschina Tatiana Pavlovna. Some Problems Concerning the Restoration of Rembrandt’s Painting «Danaë» // Rembrandt and His Pupils / Ed. Görel Cavalli‑Björkman. Stockholm, 1993, 223–234; Clark Kenneth. The Nude: A Study in Ideal Form. New York, 1956 (Кеннет Кларк. Нагота в искусстве. Исследование идеальной формы / Перевод М. В. Куренной, И. В. Кытмановой, А. Т. Толстовой. СПб., 2004); Eisler Colin. Rembrandt and Bathsheba // Essays in Northern European Art Presented to Egbert Haverkamp‑Begemann on His Sixtieth Birthday / Ed. Anne‑Marie Logan. Doorspijk, 1983. P. 84–88; Panofsky Erwin. Der gefesselte Eros: Zur Genealogie von Rembrandts «Danaë» // Oud Holland 50 (1933): 193–217; Schama Simon. Rembrandt and Women // Bulletin of the American Academy of Arts and Sciences 38 (1985); Sluiter Eric J. Rembrandt’s Early Paintings of the Female Nude: Andromeda and Susanna // Rembrandt and His Pupils / Ed. Görel Cavalli‑Björkman, Stockholm, 1993. P. 31–54; Sokolowa Irina et al. Danaë. St. Petersburg, 1998.

Пейзаж и графика

Ackley Clifford S. Printmaking in the Age of Rembrandt: Exhibition catalogue. Boston: Museum of Fine Arts, 1981; Boon Karel Gerard. Rembrandt: The Complete Etchings: 2 vols. London; New York, 1952; Cafritz Robert С. Reverberations of Venetian Graphics in Rembrandt’s Pastoral Landscapes // Cafritz Robert C., Gowing Lawrence, Rosand David. Places of Delight: The Pastoral Landscape: Exhibition catalogue. Washington, D. C.: The Phillips Collection and National Gallery of Art, 1988, P. 130–147; Freedberg David. Dutch Landscape Prints, London, 1980; McNeil Kettering Alison. Rembrandt’s «Flute Player»: Unique Treatment of the Pastoral // Simiolus 9 (1977): 19–44; Idem. The Dutch Arcadia: Pastoral Art and Its Audience in the Golden Age. Totowa; Montclair, N. J., 1983; Lugt Frits. Mit Rembrandt in Amsterdam, Berlin, 1920; Schneider Cynthia et al. Rembrandt’s Landscapes. New Haven; London, 1990; Idem. Rembrandt’s Landscapes: Drawings and Prints: Exhibition catalogue. Washington, D.C.: National Gallery of Art, 1990; Sluiter Eric Jan. De entree van de amoureuze herdersidylle in de Noord‑Nederlandse prenten schilderkunst // Het Gedroomde Land: Pastorale Schilderkunst in de Gouden Eeuw / Ed. Peter van den Brink. Utrecht, 1993; Stone‑Ferrier Linda. Rembrandt’s Landscape Etchings: Defying Modernity’s Encroachments // Art History 15 (Dec. 1992): 403–433; Rembrandt: Experimental Etcher: Exhibition catalogue. Boston: Museum of Fine Arts; New York: Hacker Art Books, 1988; White Christopher. Rembrandt as Etcher: A Study of the Artist at Work: 2 vols. London, 1989.