Rembrand was born in a big family. According to various sources the children were between 7 and 10. His dad Geritszon Harmen van Rhine was miller and his mother Neltgen - daughter of a baker. As a child attended Latin school. Later in 1620 his parents subscribed him in the famous Laydenski University. His strains and gift guide him in the same year to the famous in Leiden Jacob Isakszon Svanenburg when you go to learn. In 1623 Rembrand for a short time he was a student of Piter Piters Lastman of Amsterdam. The two masters have built the basis of his professional skill. Even from his few reserved early works can be seen his personal approach to the rendering of the man.

In 1631 he moves to live in Amsterdam. In this international commercial city come people and resources from all over the world. Especially he was attracted of Jews, living in Amsterdam. Among them he selects models for his biblical paintings. In 1634 he marries Saskiya van Oylenburg, niece of a prominent merchant of artworks. Wedding with her gives Rembrand a good social status, which allows him to buy and collect objects in his house, pieces of art and rare values. His glory was constantly growing. Many students used to learn with him. Years of marital bliss with Saskiya whether strong impetus to his creativity. At the time, his own artistic styles trengthens . In 1642, one year after the birth of their son Titus, Saskiya dies. The artist is isolated from the world and lives only with his creativity. In 1649 Rembrand starts living with Hendrik Stofels - a simple girl from the crowd. After the death of Saskiya he falls in financial difficulties. Relatives of Saskiya intensify the attacks against him. He sells the house and his valuable collections are put up for sale. Most of his friends and fans forget him. Gets just a few contracts and lives very lonely. In 1661 Hendrike dies, and seven years later and his son Titus. Rembrand and Cornell, his daughter from Hendrike remain very lonely and with material needs.

Rembrand died in 1669 and was buried quietly in Vesterkerk.
Creativity
Rembrand leaves behind more than 600 paintings, about 350 engravings and over 2000 pictures. This work speaks not only for his outstanding industry, but most of all for the deep humanity of the Creator, which is observed in all his creative periods. His early fame he owes to his portrait paintings. This kind of art for Dutch painters at that time was the most secure way for sustenance. He tries to cover the whole nature of the displayed object. Except the portraits, he prefers biblical themes, especially from the Old Testament. He is interested mainly in the man and in particular the impact of the human soul on person at the gesture, in keeping. It seeks to draw the man and his internal life.

Model for his mature art is a portrait of Hendrik Stofels (1658), a portrait of the actor Nicolas Bruning (1653), a portrait of Jan Sixus, a friend of Rembrand (1654). Rembrand also paints many group portraits. A great achievement in his work is” Anatomy Lesson of Dr. Tyulp”. He often paints himself too. The multiple Self-portraits , engravings and paintings date from the time in Leiden. “The removal of the cross” is one of the four pictures of the suffering of Christ, which he paints in 1632 for the Dutch vicar. While Rubens paints strongly the movement of the body and impressively forward the sadness, the Dutchman Rembrand paints on a small area the act of removal from the cross. The bright light beam that extorts from the surrounding darkness is typical because at that time Rembrand first uses the light to transmit the dramatic. In his young years he paints with love Jews, beggars and vagrants. Reflects the misery (“Seller of rat poison” - 1632) As the fight for human displaying goes through all his works, so and the distribution of light and shadow from the start is crucial to its method of display. As in paintings, and the engravings he is a master of light and shadow. In the beginning his contemporaries used to enthusiastically honor him and used to pay high prices for his works, but gradually they started to understand less his art. The classicism, the time when ancient life revives with its aspirations to superhuman beauty, to interception of internal turmoil does not understand the art of Rembrand. In his works, by the words of Goethe, we appreciate the artist that affects us with his humane art.