Rembrandt is undoubtedly the most famous artist ever to have lived in Amsterdam. His name is closely associated with the Dutch "Golden Age" when Amsterdam quickly developed into the richest city in the world.  Within half a century, the number of inhabitants in Amsterdam rose from 60,000 (in 1600) to 200,000.  With this increased population, Amsterdam became the third largest city of Europe, after London and Paris.

In the 17th century, almost three-fourths of the Amsterdam's population had been born elsewhere.   In order to accommodate all the new residents, the city was expanded with three wide canals around the medieval centre. The facades of the prominent houses within this ring of canals reflect the style of that time: classicism, and later, baroque.  For less well-off immigrants, "new housing" quarters were built in the north-west of the city (the "Jordaan") and in the east (such as the "Nieuwmarktbuurt").   Rembrandt lived in both areas.

Surprisingly, 17th century Amsterdam has been very well preserved.   Along the wide canals and in the small alleys of the city centre, you can still feel the atmosphere of Rembrandt's Amsterdam.  The city government and the prosperous merchants provided a continuous stream of commissions for architects, painters and other artists. It is no wonder that from 1600 onwards, Amsterdam became an important European cultural centre, attracting many artists such as Rembrandt; its appeal was also manifested in the hitherto unknown intellectual and religious freedom it offered.

Rembrandt and Amsterdam

In 1624, Rembrandt van Rijn, then eighteen, moved from Leiden to Amsterdam to study for six months under Pieter Lastman, a famous painter at that time. Paintings from this period (1624-1631) in the Rijksmuseum are:

Tobias and Anna with goat, 1626

The Music Lesson, 1626

Self-portrait

Jeremiah mourns the destruction of Jerusalem, 1630

Rembrandt settled down permanently in Amsterdam in 1631, he was then 25.  He lodged with the art dealer Hendrick van Uylenburg, who, like Rembrandt's teacher Pieter Lastman, lived in what is now the Jodenbreestraat.  

Van Uylenburg managed a painters' school on the corner of the Zwanenburgwal, next to the house where Rembrandt would later live. It was in these surroundings that he met Saskia, Van Uylenburg's niece. She came from a very prosperous family; her father was mayor of the St. Anna parish in Friesland.

Rembrandt soon received important commissions from notables and the city government. In 1632 he made his name with "The anatomical lesson of Dr. Tulp", now a famous painting.

In 1634, Rembrandt married Saskia van Uylenburg, whom he often portrayed in his works. Shortly after their marriage, they moved into a "nice neighbourhood" in the Nieuwe Doelenstraat.  In 1636, they had their first son, Rumbertus, who died two months after he was born. Two years later their daughter Cornelia was born (named after Rembrandt's mother), who died within one month. Their third child (Cornelia "II") suffered the same fate in 1640.  Paintings from this period (1631-1639) in the Rijksmuseum are:

Rembrandt's mother as the prophetess Anna (1631)

Saskia with a veil

Man in eastern attire

Haesje Jacobsfr. van Cleyburg (1636)

Landscape with a brick bridge (1638)

In 1639, Rembrandt and Saskia moved to the prominent residence on the Jodenbreestraat 4-6. Saskia died only three years later, while Rembrandt remained here for more than twenty years, the most successful period of his life.

The story of Rembrandt's life can be followed through the many houses and buildings which played a role and which can still be found in the heart of Amsterdam.   A selection of these buildings and houses follows in chronological order:

De Waag

On the Nieuwmarkt is the medieval city gate which was converted to a weighing-house (De Waag) in 1614. It now figures as the central point of this historic market square. The uppermost floor of De Waag provided quarters for the Rifleman's Guild for their meeting room; it also accommodated the Theatrum Anatomicum, where student surgeons received anatomical lessons. The entrance of this "theatre" can still be recognized by the inscription above the door.

It was here that Rembrandt painted "The Anatomical Lesson of Prof. Tulp" in 1632 (now in Museum het Mauritshuis, The Hague). The "Anatomical Lesson of Dr. Deijman" (1656), of which a fragment is hanging in the Rijksmuseum, was painted in the Kleine Vleeshal (Meat Hall), but hung in De Waag until 1723. In the dome of De Waag, on the uppermost floor, are the colourful family coats of arms of the members of the Chirurgeon's (Surgeon’s) Guild.- De Waag, Nieuwmarkt 4.

House on Jodenbreestraat 4-6

Rembrandt lived and worked for twenty years in the stately house on the Jodenbreestraat 4-6. When Rembrandt could afford to live here with his wife Saskia in 1639, he was already a famous, celebrated artist with important commissions. He paid 13,000 guilders for the house, a considerable amount at that time. The mortgage payments later gave him great financial difficulties.  The lower floor was used as living space, while the second floor served as "art room" and Rembrandt's atelier. In 1641 their son Titus was born, who grew up in this house. 

Around 1643, Geertje Dircx came to care for Titus; she was followed by Hendrickje Stoffels in 1649, the new woman in Rembrandt's life. Both ladies caused a great deal of commotion in Rembrandt's environment.  Geertje lodged a complaint against Rembrandt for breaking his promise of marriage; in 1654, Hendrickje was lectured by the church council because of her sinful (meaning "unmarried") conduct in life. In this year she had an (illegitimate) child, baptized Cornelia (III).

In spite of his success as an artist, Rembrandt had more and more difficulty fulfilling his financial obligations. In 1656, he had to relinquish his property in order to satisfy his creditors. The following year, his possessions and his house were sold. Three years later he moved with his family to a simple house on the Rozengracht.

In order to prevent the remaining creditors from claiming Rembrandt's new works, Hendrickje and Titus formed a partnership, which later developed into a modest art shop.  Today, the house on the Jodenbreestraat is a museum; the interior has largely been restored to its 17th century state. Of the roughly 300 etches which Rembrandt made, 250 are on permanent exhibition here. Paintings of his teacher Pieter Lastman are also on display, as well as those of his pupils.

Oude Kerk (Old Church)

The Oude Kerk, built as a late-Gothic hall church between 1300-1566, is the oldest church of Amsterdam. Saskia van Uylenburg, Rembrandt's first wife and model for many of his paintings, found her final resting-place here in 1642. The simple grave, near the choir organ, only mentions her first name and the years 1612-1642. Three of her children were baptized in the Oude Kerk: Rumbertus (1635), Cornelia I (1638) and Cornelia II (1640).

Doelen Hotel

Where the stately Doelen Hotel (built in 1882) now stands, was formerly the site of the building of the Rifleman's Association (Kloveniers-gilde), where the members had a shooting range - the "Doelen" (Targets).  In the seventeenth century, the wealthy Rifleman's Association was an important source of commissions for silver- and goldsmiths, as well as painters.  In 1642 Rembrandt painted the Company of Captain Frans Banning Cocq, now better known as "The Nightwatch."  During recent renovations in the Doelen Hotel, the original exterior wall of the 17th century "Doelen Room" was uncovered.  It was here that The Nightwatch hung for three quarters of a century. In honor of Rembrandt, this wall has been preserved in its original form, with a reproduction indicating the spot where this enormous painting once hung.  Anyone who is interested in seeing this should apply to the hotel reception and will be shown the way to this historic spot. (Groups by appointment only).

Amsterdam's Historisch Museum

The Amsterdam Historical Museum lies in a picturesque area in the centre of Amsterdam. One part of the museum can be visited for free - the Schuttersgalerij (Riflemen's Association Gallery), where a dozen huge 17th century portraits of the Rifleman's Association grace the walls. These portraits are comparable to Rembrandt's "The Nightwatch" in size and function. One of the paintings in the Schuttersgalerij is by Govert Flinck, one of Rembrandt's successful pupils: "The Riflemen's Feast for the Occasion of the Peace of Munster" (1648), a canvas more than five metres wide. Just as Rembrandt worked his self-portrait into "The Nightwatch," Flinck also portrayed himself in this riflemen's portrait: the centre figure of three persons, to the left of the reserve officer (with banner) and to the right above Captain Jan Huydekoper; he looks us right in the eye.

The collection of the Amsterdam Historical Museum offers a fascinating overview of the history of Amsterdam. A number of halls are totally devoted to the Golden Age and the life of the Amsterdammers in those times, with many paintings and other artistic objects on display. The collection includes paintings of Rembrandt's pupils, such as Govert Flinck, Ferdinand Bol, J. Backer and Nicolaas Maes.  The museum is situated within a number of 17th century buildings which can be entered via a number of charming inner courtyards.

Zuiderkerk (Southern Church)

Three of Rembrandt's children are buried in the 17th century Zuiderkerk.  It was near this church that Rembrandt spent the greatest part of his life living and working.  The story goes that Rembrandt had painted "The Nightwatch" in this church because his own atelier was too small to accommodate it. But research has shown that Rembrandt probably set up a provisional atelier in the garden side of his house especially for this large painting.   Ferdinand Bol, one of Rembrandt's most famous pupils, was also buried in the Zuiderkerk in 1680.  Paintings from this period (1639-1660) in the Rijksmuseum:

Portrait of Maria Trip (1639)

The Nightwatch (1642)

The Anatomical Lesson of Dr. Jan Deyman (1656)

Koninklijk Paleis (Royal Palace)

The Koninklijk Paleis on the Dam was originally built as the City Hall of Amsterdam between 1648-1655. The impressive edifice was a symbol of the power and prestige of Amsterdam during the "Golden Age". It surpassed other city halls in Europe in size and opulence.

Interesting artwork includes the rich sculptures in the Burgerzaal, the Galerijen and the Vierschaar, fashioned by Artus Quellien and his pupils. The painting in the Mozeszaal and the Troonzaal are the work of Govert Flinck and Ferdinand Bol, both pupils of Rembrandt. The richness of the interior contrasts sharply with Rembrandt's bankruptcy that was finalized here.  This building has played a tragic role in Rembrandt's life in other respects as well.

In 1645, when the City Hall had just been completed, he had to report to the "Desolate Boedelkamer" (Abandoned Estate Room), where his property was appropriated due to his heavy debts. Strangely enough, Rembrandt had made a portrait one year before of Thomas Haring, the warden of this Desolate Boedelkamer. The entrance to this room is decorated with a beautiful but daunting sculpture: above the door, a depiction of "The Fall of Icarus", as an example of excessive pride doomed to take a fatal dive; under that, empty treasure chests, mice gnawing on unpaid bills and empty money-bags.

It was primarily Rembrandt's pupils who received the honourable commission of decorating this City Hall. That was sure to have galled Rembrandt.  Ultimately, Rembrandt himself also received the commission from the city council in 1661 to make a monumental painting: "The Conspiracy of Claudius Civilis."  But this painting was removed after one year because the "heathen" portrayal was not in keeping with the taste of the regents of that time.  Rembrandt then cut the work to pieces.  A bitter consolation for the artist is that a fragment of his "Claudius Civilis" is now one of the showpieces of the National Museum in Stockholm.  The commission to fill in the bare place left by Rembrandt's painting was given to Jurriaan Ovens, again a pupil of Rembrandt's.  He delivered the work in 1663, a very average painting.  And as if this weren't enough, yet another "crime" was committed against Rembrandt here: "The Nightwatch" had to be moved to the Kleine Krijgsraadzaal (War Council Hall) in the City Hall. Because the painting did not fit exactly between two doors, a sizeable strip from the left and bottom sides was simply cut off...

Staalhof

Around 1630, a number of buildings were erected on the corner of the Staalstraat and the Groenburgwal which became the heart of the textile manufacturing industry in Amsterdam: the Staalhof and the Saaihal.  In 1662 Rembrandt painted a portrait of the members of the Syndics of the Clothmakers' Guild, which later became one of his best known works: "De Staalmeesters" (Rijksmuseum, Amsterdam). It was to be his last "official" commission. "De Staalmeesters" hung in the meeting room of the Staalhof until 1771.  This building on the Groenburgwal was demolished in 1827 to make way for the English Episcopalian Church. But the beautiful facade of the Saaihal on the Staalstraat has remained intact. The facade shows the coat of arms of Amsterdam with the imperial crown; the carved ridge beam is very aptly pleated like a piece of cloth.

House on the Rozengracht 184

In 1660, Rembrandt was forced to move, together with Hendrickje Stoffels and Titus, his son from his marriage with Saskia, to the much smaller house on the Rozengracht 184.  Hendrickje and Titus ran a modest art shop here.  During the last years of his life, Rembrandt enjoyed only scant appreciation as an artist from the Amsterdam city council.  Yet during this period, many works were created which were to become famous later. Various paintings are now on display in the Rijksmuseum, such as "The Jewish Bride" (1662) and De Staalmeesters (1662), his last commission from an "official" body. In the end, Rembrandt was left all alone in the house on the Rozengracht; Hendrickje died in 1663 and Titus followed in 1668, only 27 years old. Rembrandt himself died here on 4 October 1669 at the age of 63.  The house was demolished in the 19th century; only a memorial stone reminds one of the illustrious former resident. The Rozengracht, once the main canal of the Jordaan, was filled in 1889. And so this story ends in a minor key.

Westerkerk (Western Church)

Rembrandt was buried on 8 October 1669 in the Westerkerk in a "pauper's grave." Two centuries later, a memorial tablet was placed on one of the pillars by the grave of his son Titus. The exact location of Rembrandt's grave is not really known.  Hendrickje was also buried here. The Westerkerk is the most famous building by the city architect Hendrick de Keyser, built between 1620 and 1631 as an element within the ring of canals.   Paintings from this period (1660-1669) in the Rijksmuseum:

The denial of Peter (1660)

Titus in a monk's habit (1660)

Self-portrait as the apostle Paul (1661)

The Jewish Bride (1662)

De Staalmeesters (1662)

Rembrandt's paintings in their original environment, or "home" environment.  Fortunately, many of his important paintings and etchings can be seen in Amsterdam museums. The Rijksmuseum has the largest collection of Dutch art in the world, featuring 21 of Rembrandt's paintings, including "The Nightwatch," "The Jewish Bride" and "De Staalmeesters," as well as dozens of paintings of his pupils such as Ferdinand Bol and Govert Flinck.

The interior of Museum Het Rembrandthuis, the house where Rembrandt lived and worked for 20 years, has been largely restored to its 17th century state. Of the total of almost 300 etchings which Rembrandt made, 250 are on exhibition.  

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This article has been provided for your enjoyment by the Netherlands Board of Tourism.  We are delighted to have the opportunity of presenting it to you.  Photos courtesy Netherlands Board of Tourism.