Image imported from derpibooru 
Original Description:
 
Ponyfied Rembrant’s Self Portrait
 
Artwork : The Nigh Watch, The Anatomy Lesson of Dr. Nicolaes, Several Self Portraits, The Jewish Bride, The Prodigal Son in the Brothel, The Mill,
 
Rembrandt Harmenszoon Van Rijn (1606-1669) is generally considered one of the greatest painters and printmakers in European art and the most important in Dutch History. His contributions to art came in a period of great wealth and cultural achievement that historians call the Dutch Golden Age when Dutch Golden Age painting, although in many ways antithetical to the Baroque style that dominated Europe, was extremely prolific and innovative, and gave rise to important new genres in painting. Rembrandt had produced over 600 paintings, nearly 400 etchings and 2,000 drawings. More recent scholarship, from the 1960s to the present day (led by the Rembrandt Research Project), often controversially, has winnowed his oeuvre to nearer 300 paintings. At one time about ninety paintings were counted as Rembrandt self-portraits, but it is now known that he had his students copy his own self-portraits as part of their training. Modern scholarship has reduced the autograph count to over forty paintings, as well as a few drawings and thirty-one etchings, which include many of the most remarkable images of the group. Some show him posing in quasi-historical fancy dress, or pulling faces at himself. His oil paintings trace the progress from an uncertain young man, through the dapper and very successful portrait-painter of the 1630s, to the troubled but massively powerful portraits of his old age. In his portraits and self-portraits, he angles the sitter’s face in such a way that the ridge of the nose nearly always forms the line of demarcation between brightly illuminated and shadowy areas. A Rembrandt face is a face partially eclipsed; and the nose, bright and obvious, thrusting into the riddle of halftones, serves to focus the viewer’s attention upon, and to dramatize, the division between a flood of light—an overwhelming clarity—and a brooding duskiness.
 
Rembrandt was born in Leiden, Netherlands in 1606. He was the ninth child born to Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuijtbrouck. His family was well off; his father was a rich miller and his mother was a baker’s daughter and they met when he sold flower to her father’s bakery. 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.
 
As a child he attended Latin school and 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. 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. Rembrandt opened a studio in Leiden in 1624 or 1625, which he shared with friend and colleague Jan Lievens. In 1627, Rembrandt began to accept students, among them Gerrit Dou in 1628.
 

 
In 1629 Rembrandt was discovered by the statesman Constantijn Huygens (father of the Dutch mathematician and physicist Christiaan Huygens), who procured for Rembrandt important commissions from the court of The Hague. As a result of this connection, Prince Frederik Hendrik continued to purchase paintings from Rembrandt until 1646.
 
At the end of 1631 Rembrandt moved to Amsterdam, then rapidly expanding as the new business capital of the Netherlands, and began to practice as a professional portraitist for the first time, with great success. He initially stayed with an art dealer, Hendrick van Uylenburgh, and in 1634, married Hendrick’s cousin, Saskia van Uylenburgh. Saskia came from a good family: her father had been a lawyer and the burgemeester (mayor) of Leeuwarden. When Saskia, as the youngest daughter, became an orphan, she lived with an older sister in Het Bildt. Rembrandt and Saskia were married in the local church of St. Annaparochie without the presence of Rembrandt’s relatives. In the same year, Rembrandt became a burgess of Amsterdam and a member of the local guild of painters. He also acquired a number of students, among them Ferdinand Bol and Govert Flinck. In 1635 Rembrandt and Saskia moved into their own house, renting in fashionable Nieuwe Doelenstraat. In 1639 they moved to a prominent newly built house (now the Rembrandt House Museum) in the upscale ‘Breestraat’ (eng.: ‘Broadway’), today known as Jodenbreestraat (Jodenbreestraat 4,1011 NK Amsterdam-now) in what was becoming the Jewish quarter; then a young upcoming neighborhood. The mortgage to finance the 13,000 guilder purchase would be a primary cause for later financial difficulties. Rembrandt should easily have been able to pay the house off with his large income, but it appears his spending always kept pace with his income, and he may have made some unsuccessful investments.[19] It was there that Rembrandt frequently sought his Jewish neighbors to model for his Old Testament scenes. Although they were by now affluent, the couple suffered several personal setbacks; their son Rumbartus died two months after his birth in 1635 and their daughter Cornelia died at just three weeks of age in 1638. In 1640, they had a second daughter, also named Cornelia, who died after living barely over a month. Only their fourth child, Titus, who was born in 1641, survived into adulthood. Saskia died in 1642 soon after Titus’s birth, probably from tuberculosis. Rembrandt’s drawings of her on her sick and death bed are among his most moving works.
 
During Saskia’s illness, Geertje Dircx was hired as Titus’ caretaker and nurse and also became Rembrandt’s lover. She would later charge Rembrandt with breach of promise (a euphemism for seduction under [breached] promise to marry) and was awarded alimony of 200 guilders a year. Rembrandt worked to have her committed for twelve years to an asylum or poorhouse (called a “bridewell”) at Gouda, after learning she had pawned jewelry that had once belonged to Saskia and that he had given to her. Rembrandt lived beyond his means, buying art (including bidding up his own work), prints (often used in his paintings) and rarities, which probably caused a court arrangement to avoid his bankruptcy in 1656, by selling most of his paintings and large collection of antiquities. The sale list survives and gives us a good insight into Rembrandt’s collections, which, apart from Old Master paintings and drawings, included busts of the Roman Emperors, suits of Japanese armor among many objects from Asia, and collections of natural history and minerals. But the prices realized in the sales in 1657 and 1658 were disappointing. Rembrandt was forced to sell his house and his printing-press and move to more modest accommodation on the Rozengracht in 1660. Throughout his career Rembrandt took as his primary subjects the themes of portraiture, landscape and narrative painting. For the last, he was especially praised by his contemporaries, who extolled him as a masterly interpreter of biblical stories for his skill in representing emotions and attention to detail. Stylistically, his paintings progressed from the early “smooth” manner, characterized by fine technique in the portrayal of illusionistic form, to the late “rough” treatment of richly variegated paint surfaces, which allowed for an illusionism of form suggested by the tactile quality of the paint itself.
 
Rembrandt outlived both Hendrickje, who died in 1663, and Titus, who died in 1668, leaving a baby daughter. He died within a year of his son, on 4 October 1669 in Amsterdam, and was buried as a poor man. In an unknown grave in the Westerkerk. It was in a numbered ‘kerkgraf’ (grave owned by the church) somewhere under a tombstone in the church. After twenty years, his remains were taken away and destroyed, as was customary with the remains of poor people at that time.