SLIDE LIST 16

Rembrandt (1606-69), Portrait of Jan Six, 1654.	Frans Hals, Portrait of Balthasar Coymans, 1645.
Rembrandt, Self-Portrait, 1640.	Rembrandt, Self-Portrait, 1629.
Rembrandt copy of Raphael's Baldesar Castiglione , 1639	Raphael, Portrait of Baldesar Castiglione, 1514-15.
Details of Self-Portrait, 1658.	Rembrandt, Self-Portrait, 1658.
Rembrandt, The Syndics, c. 1662.	Hals, Banquet of Officers of the Civic Guard of St. Hadrian, 1633.
Rembrandt, Blinding of Samson, 1636.	Rembrandt, Return of the Prodigal Son, c. 1669.
Rembrandt, Supper at Emmaus, 1648.	Caravaggio, Supper at Emmaus, c. 1601.
Rembrandt, Descent from the Cross, c. 1633-34.	Rubens, Descent from the Cross, 1612.
	Lucas Vorsterman, after Peter Paul Rubens, The Descent from the Cross, engraving.
Rembrandt, Rape of Ganymede, 1635.	Rubens, Prometheus Bound, 1611.

Rembrandt, Portrait of Jan Six, 1654.	Hals, Balthasar Coymans, 1645.

Through an analysis of the styles of these works, discuss the different attitudes towards portraiture documented by this comparison.

Rembrandt, Supper at Emmaus, 1648.	Caravaggio, Supper at Emmaus, c. 1601.

Through an analysis of these two works demonstrate how the artists present radically different interpretations of the story.

Rembrandt, Blinding of Samson, 1636.	Rembrandt, Return of the Prodigal Son, c. 1669.

Use this comparison to discuss the range evident in Rembrandt's representation of Biblical subject matter. Discuss how Rembrandt has adapted his treatment of the formal elements to the different expressive intentions of these works.

Rembrandt, Descent from the Cross, c. 1633-34.	Rubens, Descent from the Cross, 1612.

Through an analysis of these two works demonstrate how the artists present radically different interpretations of the scene.