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О влиянии Рубенса в Нидерландах

Gelder Jan Gerrit van. Rubens in Holland in de Zeventiende Eeuw // Nederlands Kunsthistorisch Jaarboek 3 (1950–1951): 103–150; Gerson Horst. Rembrandt and the Flemish Baroque: His Dialogue with Rubens // Delta, 1969: 7–23.

О живописной технике Рембрандта

Ainsworth Mary, Haverkamp-Begemann Egbert, et al. Art and Autoradiography: Insights into the Genesis of Paintings by Rembrandt, Van Dyck and Vermeer. New York, 1982; Bomford David, Brown Christopher, Roy Ashok. Art in the Making: Rembrandt. London, 1988; Laurie Arthur Pillans. The Brushwork of Rembrandt and His School. London, 1932; Wetering Ernst van de. Rembrandt: The Painter at Work. Amsterdam, 1997. В сборнике статей ван де Ветеринга проницательно и глубоко исследуется сочетание композиции и живописных приемов в творчестве Рембрандта, а также поэтическое воздействие его картин на зрителей.

Рембрандт в Лейдене

Baar P. J. M. de et al. Rembrandt en Lievens in Leiden «een jong en edel schildersduo»: Exhibition catalogue. Leiden: Stedelijk Museum De Lakenhal, 1992; Bauch Kurt. Die Kunst des jungen Rembrandt. Heidelberg, 1933; Idem. Der frühe Rembrandt und seine Zeit: Studien zur geschichtlichen Bedeutung seines Frühstils. Berlin, 1960; Idem. Christus am Kreuz // Pantheon 20 (1962): 137–144; Bille Clara. Rembrandt and Burgomaster Jan Six // Apollo (1967): 160–165; Broos Ben P. J. Rembrandt and Lastman’s «Coriolanus»: The History Piece in the Seventeenth Century, Theory and Practice // Simiolus (1975): 199–228; Brown Christopher, Plesters Joyce. Rembrandt’s Portrait of Hendrickje Stoffels // Apollo (1977): 286–291; Defoer Henry L. M. Rembrandt van Rijn, De doop van de kamerling // Oud Holland 91 (1977): 2–26; Gelder Jan Gerrit van. A Rembrandt Discovery // Apollo 77 (1963): 371–372; Gerson Horst. La Lapidation de Saint Etienne peinte par Rembrandt en 1625 // Bulletin des musees et monuments lyonnais (1962); Haak Bob. Nieuwe licht op Judas en de zilverlingen van Rembrandt // Album Amicorum J. G. van Gelder. The Hague, 1973. P. 155–158; Robinson Franklin. A Note on the Visual Tradition of Balaam and His Ass // Oud Holland 84 (1969): 167–196; Slive Seymour. The Young Rembrandt // Allen Memorial Art Museum Bulletin 20 (1962): 120–149; Wetering Ernst van de. Leidse schilders achter de ezels // Geschildert tot Leyden anno 1626: Exhibition catalogue. Leiden, 1976. P. 21–31.

Портреты и групповые портреты

Bergstrom Ingvar. Rembrandt’s Double-Portrait of Himself and Saskia at the Dresden Gallery // Nederlands Kunsthistorisch Jaarboek 17 (1966): 143–169; Brilliant Richard. Portraiture, Cambridge, Mass., 1991; Perry Chapman H. Rembrandt’s Self-portraits: A Study in Seventeenth-Century Identity, Princeton, 1990; Dudok van Heel Sebastiaan Abraham Cornelis. Mr. Joannes Wtenbogaert (1608–1680): Een man uit Remonstrants milieu en Rembrandt van Rijn // Jaarboek Amstelodamum 70 (1978): 146–169; Eeghen Isabella Henriette van. Martens en Herman Doomes // Maandblad Amstelodamum 43 (October 1956): 133–137; Emmens Jan A. «Ay, Rembrandt, maal Cornells stem» // Idem. Kunsthistorische Opstelling. Vol. 1. Amsterdam, 1981. P. 20; Frerichs L. C. J. De schetsbladen van Rembrandt voor het schilderij van het echtpaar Anslo // Maandblad Amstelodamum 56 (Oct. 1969): 206–211; Freedman Luba. Rembrandt’s Portrait of Jan Six // Artibus et Historiae 12 (1985): 89–105; Gelder Hendrik Enno van. Rembrandt’s portretjes van M. Huygens en J. de Gheyn III // Oud Holland 68 (1953): 107; Gerson Horst. Rembrandt’s portret van Amalia van Solms // Oud Holland (1984): 244–249; Gombrich Ernst H. The Mask and the Face: The Perception of Physiognomic Likeness in Life and Art // The Image and the Eye. London, 1982. P. 104–136; Grimm Claus. Rembrandt Selbst: Eine Neubewertung seiner Porträtkunst. Stuttgart; Zurich, 1991; Haverkamp-Begemann Egbert. Rembrandt: «The Night Watch». Princeton, 1982; Heckscher William S. Rembrandt’s «Anatomy of Dr. Nicolaas Tulp»: An Iconological Study. New York, 1958; Jongh Eddy de. The Spur of Wit: Rembrandt’s Response to an Italian Challenge // Delta 12 (1969): 49–67; Middelkoop Norbert et al. Rembrandt under the Scalpel: Exhibition catalogue. The Hague: Mauritshuis, 1998; Riegl Alois. Das holländische Gruppenporträt / Ed. L. Munz: 2 vols. Vienna, 1931; Schneider Cynthia P. Death by Interpretation: Rembrandt’s «Girl with Dead Peacocks» // Rembrandt and His Pupils / Ed. Görel Cavalli-Björkman. Stockholm, 1993. P. 55–67; Idem. Rembrandt Reversed: Reflections on the Early Self-portrait Etchings // Shop Talk: Studies in Honour of Seymour Slive / Ed. Cynthia Schneider, William Robinson, Alice Davies, Cambridge, Mass., 1995. P. 224–226; Schupbach William. The Paradox of Rembrandt’s «Anatomy of Dr. Tulp». London, 1982; Six Jan. Jan Six aan het venster (Jan Six at the Window) // Kroniek van het Rembrandthuis 23 (1969): 34–36, 68–69; Slive Seymour. Rembrandt’s «Self-portrait in a Studio» // Burlington Magazine 106 (1964): 483–486; Smith David R. «I Janus»: Privacy and the Gentlemanly Ideal in Rembrandt’s Portraits of Jan Six // Art History 11 (Mar. 1988): 42–63; Stoichita Victor I. The Self-aware Image: An Insight into Early Modern Meta-painting / Trans. Anne-Marie Glasheen. Cambridge, 1997; Sullivan Scott A. Rembrandt’s «Self-portrait with Dead Bittern» // Art Bulletin 62 (1980): 136–143; Tümpel Christian. De Amsterdamse schutter-stukken // Schutters in Holland / Ed. Marijke Carasso-Kok, Jacoba Levy-van Halm: Exhibition catalogue. Zwolle, 1988. P. 74–103; Wheelock Jr. Arthur K. Rembrandt Self-portraits: The Creation of a Myth // Papers in Art History from the Pennsylvania State University 11 (1999): 3–35.

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.