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  [[File:Rembrandt - Rembrandt and Saskia in the Scene of the Prodigal Son - Google Art Project.jpg|thumb|''[[The Prodigal Son in the Tavern]]'', a self-portrait with Saskia, c. 1635]]
  
  [[File:Rembrandt - Rembrandt and Saskia in the Scene of the Prodigal Son - Google Art Project.jpg|thumb|''[[The Prodigal Son in the Tavern]]'', a self-portrait with Saskia, c. 1635]]


  
  

  
  



  
  Rembrandt<ref>This version of his first name, "Rembrandt" with a "d," first appeared in his signatures in 1633. Until then, he had signed with a combination of initials or monograms. In late 1632, he began signing solely with his first name, "Rembrant". He added the "d" in the following year and stuck to this spelling for the rest of his life. Although we can only speculate, this change must have had a meaning for Rembrandt, which is generally interpreted as his wanting to be known by his first name like the great figures of the Italian Renaissance: Leonardo, Raphael etc., (who did not sign with their first names, if at all). [http://www.rembrandt-signature-file.com/ Rembrandt-signature-file.com] {{webarchive |url=https://web.archive.org/web/20160409172243/http://www.rembrandt-signature-file.com/ |date=9 April 2016 }}</ref> Harmenszoon van Rijn was born on 15&nbsp;July 1606 in [[Leiden]],<ref name="BY"/> in the [[Dutch Republic]], now the [[Netherlands]]. He was the ninth child born to Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuijtbrouck.<ref>Bull, et al., p. 28.</ref> His family was quite well-to-do; his father was a [[miller]] and his mother was a baker's daughter. Religion is a central theme in Rembrandt's paintings and the religiously fraught period in which he lived makes his faith a matter of interest. His mother was Roman Catholic, and his father belonged to the [[Dutch Reformed Church]]. While his work reveals deep Christian faith, there is no evidence that Rembrandt formally belonged to any church, although he had five of his children christened in Dutch Reformed churches in Amsterdam: four in the Oude Kerk (Old Church) and one, Titus, in the Zuiderkerk (Southern Church).<ref>{{cite web|url=http://stadsarchief.amsterdam.nl/archieven/archiefbank/indexen/doopregisters/zoek/query.nl.pl?i1=1&v1=rembr*&a1=r*ijn&i2=1&x=19&z=b |title=Doopregisters, Zoek |language=nl |publisher=Stadsarchief.amsterdam.nl |date=2014-04-03 |accessdate=2014-04-07}}</ref>
  
  Rembrandt<ref>This version of his first name, "cgyfik"  with a "d," first appeared in his signatures in 1633. Until then, he had signed with a combination of initials or monograms. In late 1632, he began signing solely with his first name, "Rembrant". He added the "d" in the following year and stuck to this spelling for the rest of his life. Although we can only speculate, this change must have had a meaning for Rembrandt, which is generally interpreted as his wanting to be known by his first name like the great figures of the Italian Renaissance: Leonardo, Raphael etc., (who did not sign with their first names, if at all). [http://www.rembrandt-signature-file.com/ Rembrandt-signature-file.com] {{webarchive |url=https://web.archive.org/web/20160409172243/http://www.rembrandt-signature-file.com/ |date=9 April 2016 }}</ref> Harmenszoon van Rijn was born on 15&nbsp;July 1606 in [[Leiden]],<ref name="BY"/> in the [[Dutch Republic]], now the [[Netherlands]]. He was the ninth child born to Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuijtbrouck.<ref>Bull, et al., p. 28.</ref> His family was quite well-to-do; his father was a [[miller]] and his mother was a baker's daughter. Religion is a central theme in Rembrandt's paintings and the religiously fraught period in which he lived makes his faith a matter of interest. His mother was Roman Catholic, and his father belonged to the [[Dutch Reformed Church]]. While his work reveals deep Christian faith, there is no evidence that Rembrandt formally belonged to any church, although he had five of his children christened in Dutch Reformed churches in Amsterdam: four in the Oude Kerk (Old Church) and one, Titus, in the Zuiderkerk (Southern Church).<ref>{{cite web|url=http://stadsarchief.amsterdam.nl/archieven/archiefbank/indexen/doopregisters/zoek/query.nl.pl?i1=1&v1=rembr*&a1=r*ijn&i2=1&x=19&z=b |title=Doopregisters, Zoek |language=nl |publisher=Stadsarchief.amsterdam.nl |date=2014-04-03 |accessdate=2014-04-07}}</ref>


  
  

  
  



  
  As a boy he attended [[Latin]] school. At the age of 14, he was enrolled at the [[University of Leiden]], although according to a contemporary he had a greater inclination towards painting; he was soon apprenticed to a Leiden history painter, [[Jacob van Swanenburgh]], with whom he spent three years.<ref name=Houbraken>{{link language|nl|Middle Dutch}} [https://archive.is/20120527043045/http://www.dbnl.org/tekst/houb005groo01_01/houb005groo01_01_0129.htm Rembrandt biography] in ''De groote schouburgh der Nederlantsche konstschilders en schilderessen'' (1718) by [[Arnold Houbraken]], courtesy of the [[Digital library for Dutch literature]]</ref> After a brief but important apprenticeship of six months with the painter [[Pieter Lastman]] in Amsterdam, Rembrandt stayed a few months with [[Jacob Pynas]] and then started his own workshop, though Simon van Leeuwen claimed that [[Joris van Schooten]] taught Rembrandt in Leiden.<ref name=Houbraken/><ref>[https://books.google.com/books?id=le9GAAAAcAAJ&pg=PA189 Joris van Schooten as teacher of Rembrandt and Lievens] {{webarchive |url=https://web.archive.org/web/20161226043135/https://books.google.com/books?id=le9GAAAAcAAJ&pg=PA189 |date=26 December 2016 }} in Simon van Leeuwen's ''Korte besgryving van het Lugdunum Batavorum nu Leyden'', Leiden, 1672</ref> Unlike many of his contemporaries who traveled to Italy as part of their artistic training, Rembrandt never left the Dutch Republic during his lifetime.<ref>[https://www.nationalgallery.org.uk/artists/rembrandt Rembrandt biography] {{webarchive |url=https://web.archive.org/web/20161220010238/https://www.nationalgallery.org.uk/artists/rembrandt |date=20 December 2016 }}, nationalgallery.org.uk</ref><ref>Erhardt, Michelle A., and Amy M. Morris. 2012. [https://books.google.com/books?id=MQAzAQAAQBAJ&pg=PA252&dq= ''Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque'']. Boston : Brill. p. 252. {{ISBN|9789004231955}}.</ref>
  
  As a boy he attended [[Latin]] school. At the age of 14, he was enrolled at the [[University of Leiden]], although according to a contemporary he had a greater inclination towards painting; he was soon apprenticed to a Leiden history painter, [[Jacob van Swanenburgh]], with whom he spent three years.<ref name=Houbraken>{{link language|nl|Middle Dutch}} [https://archive.is/20120527043045/http://www.dbnl.org/tekst/houb005groo01_01/houb005groo01_01_0129.htm Rembrandt biography] in ''De groote schouburgh der Nederlantsche konstschilders en schilderessen'' (1718) by [[Arnold Houbraken]], courtesy of the [[Digital library for Dutch literature]]</ref> After a brief but important apprenticeship of six months with the painter [[Pieter Lastman]] in Amsterdam, Rembrandt stayed a few months with [[Jacob Pynas]] and then started his own workshop, though Simon van Leeuwen claimed that [[Joris van Schooten]] taught Rembrandt in Leiden.<ref name=Houbraken/><ref>[https://books.google.com/books?id=le9GAAAAcAAJ&pg=PA189 Joris van Schooten as teacher of Rembrandt and Lievens] {{webarchive |url=https://web.archive.org/web/20161226043135/https://books.google.com/books?id=le9GAAAAcAAJ&pg=PA189 |date=26 December 2016 }} in Simon van Leeuwen's ''Korte besgryving van het Lugdunum Batavorum nu Leyden'', Leiden, 1672</ref> Unlike many of his contemporaries who traveled to Italy as part of their artistic training, Rembrandt never left the Dutch Republic during his lifetime.<ref>[https://www.nationalgallery.org.uk/artists/rembrandt Rembrandt biography] {{webarchive |url=https://web.archive.org/web/20161220010238/https://www.nationalgallery.org.uk/artists/rembrandt |date=20 December 2016 }}, nationalgallery.org.uk</ref><ref>Erhardt, Michelle A., and Amy M. Morris. 2012. [https://books.google.com/books?id=MQAzAQAAQBAJ&pg=PA252&dq= ''Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque'']. Boston : Brill. p. 252. {{ISBN|9789004231955}}.</ref>
@@ Line 29: / Line 29: @@
 [[File:Rembrandt - Rembrandt and Saskia in the Scene of the Prodigal Son - Google Art Project.jpg|thumb|''[[The Prodigal Son in the Tavern]]'', a self-portrait with Saskia, c. 1635]]
-Rembrandt<ref>This version of his first name, "Rembrandt" with a "d," first appeared in his signatures in 1633. Until then, he had signed with a combination of initials or monograms. In late 1632, he began signing solely with his first name, "Rembrant". He added the "d" in the following year and stuck to this spelling for the rest of his life. Although we can only speculate, this change must have had a meaning for Rembrandt, which is generally interpreted as his wanting to be known by his first name like the great figures of the Italian Renaissance: Leonardo, Raphael etc., (who did not sign with their first names, if at all). [http://www.rembrandt-signature-file.com/ Rembrandt-signature-file.com] {{webarchive |url=https://web.archive.org/web/20160409172243/http://www.rembrandt-signature-file.com/ |date=9 April 2016 }}</ref> Harmenszoon van Rijn was born on 15&nbsp;July 1606 in [[Leiden]],<ref name="BY"/> in the [[Dutch Republic]], now the [[Netherlands]]. He was the ninth child born to Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuijtbrouck.<ref>Bull, et al., p. 28.</ref> His family was quite well-to-do; his father was a [[miller]] and his mother was a baker's daughter. Religion is a central theme in Rembrandt's paintings and the religiously fraught period in which he lived makes his faith a matter of interest. His mother was Roman Catholic, and his father belonged to the [[Dutch Reformed Church]]. While his work reveals deep Christian faith, there is no evidence that Rembrandt formally belonged to any church, although he had five of his children christened in Dutch Reformed churches in Amsterdam: four in the Oude Kerk (Old Church) and one, Titus, in the Zuiderkerk (Southern Church).<ref>{{cite web|url=http://stadsarchief.amsterdam.nl/archieven/archiefbank/indexen/doopregisters/zoek/query.nl.pl?i1=1&v1=rembr*&a1=r*ijn&i2=1&x=19&z=b |title=Doopregisters, Zoek |language=nl |publisher=Stadsarchief.amsterdam.nl |date=2014-04-03 |accessdate=2014-04-07}}</ref>
+Rembrandt<ref>This version of his first name, "cgyfik"  with a "d," first appeared in his signatures in 1633. Until then, he had signed with a combination of initials or monograms. In late 1632, he began signing solely with his first name, "Rembrant". He added the "d" in the following year and stuck to this spelling for the rest of his life. Although we can only speculate, this change must have had a meaning for Rembrandt, which is generally interpreted as his wanting to be known by his first name like the great figures of the Italian Renaissance: Leonardo, Raphael etc., (who did not sign with their first names, if at all). [http://www.rembrandt-signature-file.com/ Rembrandt-signature-file.com] {{webarchive |url=https://web.archive.org/web/20160409172243/http://www.rembrandt-signature-file.com/ |date=9 April 2016 }}</ref> Harmenszoon van Rijn was born on 15&nbsp;July 1606 in [[Leiden]],<ref name="BY"/> in the [[Dutch Republic]], now the [[Netherlands]]. He was the ninth child born to Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuijtbrouck.<ref>Bull, et al., p. 28.</ref> His family was quite well-to-do; his father was a [[miller]] and his mother was a baker's daughter. Religion is a central theme in Rembrandt's paintings and the religiously fraught period in which he lived makes his faith a matter of interest. His mother was Roman Catholic, and his father belonged to the [[Dutch Reformed Church]]. While his work reveals deep Christian faith, there is no evidence that Rembrandt formally belonged to any church, although he had five of his children christened in Dutch Reformed churches in Amsterdam: four in the Oude Kerk (Old Church) and one, Titus, in the Zuiderkerk (Southern Church).<ref>{{cite web|url=http://stadsarchief.amsterdam.nl/archieven/archiefbank/indexen/doopregisters/zoek/query.nl.pl?i1=1&v1=rembr*&a1=r*ijn&i2=1&x=19&z=b |title=Doopregisters, Zoek |language=nl |publisher=Stadsarchief.amsterdam.nl |date=2014-04-03 |accessdate=2014-04-07}}</ref>
 As a boy he attended [[Latin]] school. At the age of 14, he was enrolled at the [[University of Leiden]], although according to a contemporary he had a greater inclination towards painting; he was soon apprenticed to a Leiden history painter, [[Jacob van Swanenburgh]], with whom he spent three years.<ref name=Houbraken>{{link language|nl|Middle Dutch}} [https://archive.is/20120527043045/http://www.dbnl.org/tekst/houb005groo01_01/houb005groo01_01_0129.htm Rembrandt biography] in ''De groote schouburgh der Nederlantsche konstschilders en schilderessen'' (1718) by [[Arnold Houbraken]], courtesy of the [[Digital library for Dutch literature]]</ref> After a brief but important apprenticeship of six months with the painter [[Pieter Lastman]] in Amsterdam, Rembrandt stayed a few months with [[Jacob Pynas]] and then started his own workshop, though Simon van Leeuwen claimed that [[Joris van Schooten]] taught Rembrandt in Leiden.<ref name=Houbraken/><ref>[https://books.google.com/books?id=le9GAAAAcAAJ&pg=PA189 Joris van Schooten as teacher of Rembrandt and Lievens] {{webarchive |url=https://web.archive.org/web/20161226043135/https://books.google.com/books?id=le9GAAAAcAAJ&pg=PA189 |date=26 December 2016 }} in Simon van Leeuwen's ''Korte besgryving van het Lugdunum Batavorum nu Leyden'', Leiden, 1672</ref> Unlike many of his contemporaries who traveled to Italy as part of their artistic training, Rembrandt never left the Dutch Republic during his lifetime.<ref>[https://www.nationalgallery.org.uk/artists/rembrandt Rembrandt biography] {{webarchive |url=https://web.archive.org/web/20161220010238/https://www.nationalgallery.org.uk/artists/rembrandt |date=20 December 2016 }}, nationalgallery.org.uk</ref><ref>Erhardt, Michelle A., and Amy M. Morris. 2012. [https://books.google.com/books?id=MQAzAQAAQBAJ&pg=PA252&dq= ''Mary Magdalene, Iconographic Studies from the Middle Ages to the Baroque'']. Boston : Brill. p. 252. {{ISBN|9789004231955}}.</ref>
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