Rembrandt van Rijn - The Real Rembrandt [Documentary]

some people consider this one of the most beautiful paintings in the world Titus painted by his father Rembrandt van Rijn the longer you look at it the more intriguing it becomes it's on display in a museum in London which used to have 12 Rembrandt paintings used to have because this titus is the only authentic Rembrandt left there the eleven others are still there but they've been written off not by Rembrandt the last five perished in 1987 this impressive collection which once served as a model for many an art collection the world over is a classic example of what can happen to owners of works by Rembrandt there was a certain amount of shock there was a certain amount of horror because Rembrandt is rather more than an artist he's almost he's a god-like figure he's an icon and if you interfere with his work and interfere with his reputation you're interfering with a very nature of art it appears [Music] little did one suspect that Rembrandt once inviolable would become the center of public dispute art historians are being beleaguered by private detectives in the press new revelations are being compared to Watergate or the power of the atom bomb [Music] [Music] when the now world-famous the man with the golden helmet was acquired in Berlin in 1897 an art critic praised its amazing technical Provera we now know the canvas was not a Rembrandt thanks to research carried out in New York Berlin in London or Amsterdam what's real and what isn't this is not a new issue The Hague the 8th of April 16 47 a correction was made on page 24 of the item list at a public auction the word principal indicating that it's a real Rembrandt has been replaced by after Rembrandt so even then there was confusion with one expert who was mistaken or misled we want to avoid mistakes and deceit we want to come as close as possible to the real Rembrandt now what's so special about the paintings which are solemnly revered more often than not by tourists in all the international temples apart when scooter and alcohol in a dwarvish hood Newton established enema and even if Adele accomplished our procession was this man Frederick re held he was a very successful merchant because I'm creating a sign outside the company the beautiful leaf Inn rather like the famous Night Watch in Amsterdam but it's the height of all their Pokemon there's an Osaka disabilities the office also provides Rembrandt with a splendid opportunity to try to match himself against the great works representing great men by Rembrandt was always ranked among great masters in 1658 the German art dealer Gabriel boo Salinas noted all Europe's major artists against one he wrote na street artist miraculin the miracle of our century it was Rembrandt [Music] Rembrandt's contemporaries must have been overwhelmed by his directness by his unrivaled intensity his work imparts to the viewer an exciting compelling logic which has been expressed in paint in an amazingly skillful fashion Rembrandt already displayed an emotional intensity in his early years this becomes clear when we compare one of his works with that of an older colleague take for example Abraham about to sacrifice his son Isaac but is prevented from doing so by an angel this would cut after work by Rubens from 1614 inspired Rembrandt's teacher Peter last man to make this painting it is let us say an adequate illustration of this grim event however on close scrutiny we see that the hands of the angel white against a light background are barely visible but he has come to foil an attempt on a child's life both father and son look theatrically sad but they lack genuine expression now here is the work of the apprentice Rembrandt the imploring gesture of the Angels hand which stands out against a dark background the heart-rending expression of the father's face the knife which slips from his hand and the pale throat it was meant to pierce such details build up a morbid tension the fragility of the boy's naked body stretched across the canvas is even moving and the coarse hand held over his face is particularly shocking because this poulterer's gesture suggests the fear of death an emotion which cannot itself be painted [Music] Rembrandt didn't shrink from blood-curdling details or tenderness and his painting technique was so clever the connoisseurs are still trying to figure out how he did it here particles of Rembrandt's paint are being analyzed by gas chromatography in Amsterdam's central laboratory such research is needed in order to carry out restoration work researchers are finding out more and more about how Rembrandt used paint and binding agents it's truly fascinating the search goes on much progress has been made in the dating of wood panels for paintings were soared lengthwise from tree trunks on the sides of the panels you can see sections of the annual rings the rings are counted and entered into a computer the computer calculates when the tree was felled all sorts of conclusions can then be drawn Rembrandt didn't treat his panels in any particular way he bought several at a time in the standard sizes this Minerva was painted on wood from the same tree as the portrait of this man so both pieces must at least a pass-through Rembrandt studio researchers are also examining canvases part of the Dutch Rembrandt research project included measuring on x-rays the thread density of no fewer than 217 of Rembrandt's works a Herculean task which yielded a set of sober graphs thanks to all the figures amassed we now know that Rembrandt did not have rolls of linen but that he bought a few canvases at a time if two canvases appear to have come from the same row the artist must have bought them at the same time we know that these two famous but unidentified portraits owned by different people for hundreds of years and here exhibited side by side for once were painted on canvas from the same roll so they must have been husband and wife there's something else that's special about the woman nowadays paintings can be made slightly radioactive with the aid of neutrons because of the differences in half value times the various layers of paint can be made visible one by one with sensitive photographic paper this technique has been applied in Germany and in the United States with this portrait of a woman now experts were able to examine the painting layer by layer this proved that Rembrandt made changes to this canvas as he went along in the finished painting we see on the left that the woman is sitting in a chair with a wooden arm on the right her hand is resting on a tablecloth here the neutron activated autoradiography shows that initially there was no tablecloth so Rembrandt made improvements until the very last moment but the experts are examining a great deal more in Amsterdam the preparation of canvases has been reconstructed to the last detail we know that the canvases were stretched into wooden frames with rope incised with a special gluey substance the procedure has been reconstructed first a thick ground of cheap red ochre pigment is laid on to make the canvas stiff and impermeable [Music] a second layer of white LED with some black pigment was applied to make it smooth and less absorbent for oil paint [Music] in a similar manner the wooden panels were prepared a mixture of chalk and glue was applied to the sandpapered wood to fill the seams onto this came a second yellowish oil-based ground in this diagram we see the chalk layer and yellowish filler served as a ground for the paintings preliminary sketch [Music] Rembrandt's technique was to overlap the outlines of the sketch for example if he wanted a red object in front of a green background he would first paint the green layer crossing the outlines of the object and then fill in the red object carefully following the outline again to highlight ornaments such as buttons or jewelry he dabbed in thick blobs of paint with a fine shiny white line on top such a clarifying diagram doesn't actually tell us very much after all the secret started with the sketch the preliminary study here again the model was made in the laboratory in Rembrandt's usual color Brown artists needed these sketches because they didn't stand in front of their easels they sat in front of them right on top of their work so they needed a kind of blueprint of what they were going to paint a Quibbler may remark that Rembrandt did stand in front of his easel once but others have pointed out that he is not painting here he is thinking about what he's going to paint what's more there are worn-out spots under the easel where the seated artists placed his feet the moment of thought symbolizes the inventio the first creative moment [Music] by putting together everything he had ever imagined or seen as well as hundreds of fragments of compositional detail Rembrandt created the basis for his paintings the so called under painting or dead color painting none of Rembrandt's under paintings has survived but there are still monochrome paintings which served as preliminary studies such as this one for an etching the Concord of the state most remarkable of all are the facial expressions of the people in the crowd no stereotypes but individuals every single one of them has a different expression than character each face is a little masterpiece [Music] Rembrandt's under paintings were often laid on directly in paint he drew with paint this was generally considered the most difficult method the scenes depicted in these monochrome paintings such as the preaching of sin John the Baptist betray the hand of a contemplative person [Music] most of Rembrandt's underpaintings will have been created more freely when coloring the painting he worked from background to foreground that is to say he started with the sky the landscape and the onlookers in the background and then worked his way forward he used the same technique for his etchings as can be seen by comparing the initial and final stages of an itchy when the background was finished he still had to start on the foreground [Music] his paintings came into being in the same way in this case we can imagine the sky and rocks came first then the horsemen in the background then the angel and the onlookers then the main character and lastly the figure in the foreground the donkey painted within the lines which had been temporarily covered by the Angels ro once again Rembrandt surpasses his teacher Peter last Minh had painted the same scene an angel appears before the Prophet Balaam three times but the Prophet doesn't see him the donkey does see the angel and lies down Balaam beats the animal and begins to speak this is depicted here in Lastman's painting the arm with which Balaam strikes is stretched horizontally in front of him from here the arm can only move straight down as you would do in closing a window not a particularly forceful mount and Balaam's eyes are focused just above the donkey's head although the Beast is talking to him [Music] Rembrandt is much more direct the hand which strikes the Beast is at an angle the lower arm is raised from this position the stick can lash down Rembrandt has an excellent eye for body language also Horseman and donkey look each other straight in the eye such a painting is full of details which immediately convinced the viewer by looking at these details and thanks to the laboratory tests on paint and paint layers of course we can come closer and closer to the real Rembrandt the world famous Night Watch has also been painted from the back to the front for the characters in the middle ground Rembrandt consulted a military handbook for the state army drawn up by Jakob Dehaene the book shows how gunpowder is placed in a fire log Rembrandt turned the man 90 degrees the book shows how a musket should be fired and this is also depicted in the middle of the Night Watch as is the blowing out of the guns powder magazine after a shot has been fired the main characters appear in the foreground leftenant writin burg in his golden outfit and the commander of the banner captain Franz burning note the perspective of this arrangement the commander is of course standing in the foreground he is gesturing writin Berg's coat was painted first later the shadow of burning gesturing hand was superimposed on the coat Rembrandt was very daring to have dressed the commander in black a color which is generally used to literally relegate someone to the background the x-rays show us that the artist made quite a few changes to the Nightwatch for example the lock on the magazine of the weapon held by the blowing rifleman was initially not visible as can be seen in the x-ray on the right on the Left we see how Rembrandt slightly flattened right and Berg shoulder in order to be able to show the metal grip for those who know it is very obvious because it hasn't been done very beautifully but then again in the 17th century people said that you could grate nutmeg on writing Berg's yellow coat the feeling of depth created in the painting by banning Cox extended hand is fascinating a similar effect has been created with writing Berg's Lance despite the fact that it's painted in a dark tone it seems almost to stick out three dimensionally from the painting the x-rays show that Rembrandt made three versions before finding the best solution note the exquisitely subtle ray of golden light behind the Lance's blade in this way a three-dimensional effect is created with ion consistency was Rembrandt an innovator not as far as his material goes nor in the sense that he radically broke with tradition on the contrary he was a connoisseur and fanatic collector of the works of other masters a Rembrandt spent a fortune on prints and drawings by and after Michelangelo Titian Raphael Holbein and Rubens to name but a few these were signals from a world of forms and compositions which he tried to emulate lucas van Layden's a que homo for which he paid far too much money an original print by Albrecht Durer the Virgin Mary's deathbed and the angel departing from the family of Tobias by Martin Van Haynes Kirk if Rembrandt was deeply struck by a particular scene he would imitate it sometimes even to the my newest detail this was not considered plagiarism it was a quotation a tribute and a signal he indicated that he knew these works and if possible that he wanted to excel them Rembrandt recognized Christ's furious posture in Durer's Christ driving the money changers from the temple as a unique gesture and he incorporated it in an even stronger composition of publicans fleeing in panic [Music] maintain your's idea to paint a body at right angles to a panels plane is an example of an innovation which found its way through the world of European artists it reappears in adonus by gold seals and later in Rembrandt's anatomy lesson of dr. Damon although in many respects Rembrandt was not original he was considered modern in his early years in order to understand this we shall take a look at the way in which the human face was portrayed before his time for centuries faces were drawn with distinct lines [Music] from the early 15th century faces became more plastic shadow color and light were added but his contemporaries must have been stunned to see how Rembrandt did it as in this portrait which is now kept in castle the light enters from behind and the eyes are in the shade he came as a surprise when experts found out earlier this century that this painting had not been made by Rembrandt at all in 1959 the original painting surfaced at an auction in London the work is now exhibited in the Rex Museum it is fascinating to compare this refined portrait with the other which now appears to be quite different first of all the three-dimensional effect is much more effective in the original on the left than in the face on the right this face even looks slightly swollen and seems too close to the frame and then the hair on the left an endless variation of fine lines which gives life to the tousled hair the copy on the right has monotonous curls bending to the right or left we no longer see the hair but mere scratches the copy on the right has unmotivated patches of light on the nose and neck and an ashen complexion left we see a fine and carefully applied structure of nose and cheek the copy has a few haphazard spots on the cheek and flat bland shadows in the cheek on the left the anatomy of the facial muscles is very distinct light from behind is reflected in the cheek in a very subtle manner on the right this is not visible but the differences become even clearer when we take a look at the paintings background on the x-ray in the original on the left the background paint continues under the hair that's logical because the background was painted first the outline of the hair still had to be determined the x-ray of the copy on the right shows that the background stops exactly where the paint of the hair starts this means that the painter knew in advance how the hair would grow after all he had the original if we take a closer look at the copy we see how carelessly even angrily shadows have been painted under the nose between the lips and under the chin [Music] once again the x-ray shows that the background does not carry on under the outline of the net but that the tapering paint strokes stop exactly there that's how an example is copied the question remains who would make such a copy [Music] Rembrandt spent 27 years of his life in this part of Amsterdam the neighborhood around the zydeco here he worked in four studios and had numerous pupils the master first came to this teeming economic and artistic center in 1626 as a pupil of Peter last man who lived near the church he returned in 1632 and worked with the art dealer Island Berg who lived on the corner of the bridge throught Hobart link also worked there in 1635 a year after he married Saskia van Island Berg he moved to the Doolin's throught where Ferdinand ball became his pupil and two years later he moved to the sac Ibaka alley where he taught fan egg hunt in 1639 he bought a house next door to Island Berg in the bracelet this house now the Rembrandt house which he bought on credit would later bring about his financial downfall it was here under a shelter in the garden that he painted the Night Watch pupils in this house included carel fabritius and Samuel and Hawk Stratton following his bankruptcy Rembrandt moved to the Rosen heart on the western side of the Ring of canals which had become the new commercial center of Amsterdam overlooked by the Wester Kirk where he was later buried all the time especially during his early years as an artist he had pupils journeyman and associates amateurs and professionals at least 54 in total their presence is documented by the many models which have been immortalized both by Rembrandt and by his pupils [Music] Rembrandt's pupils came to the famous master to learn a craft or his style he took them on because it enhanced his status as a master but also because they were productive after all there was a market for paintings in 17th century Holland canvases were on sale everywhere and judging by the illustrations of bourgeois er interiors in Holland's Golden Age people were keen to hang something on the wall there were also noticeable market trends a popular subject was flora the Roman goddess of fertility who'd been painted by Titian so Rembrandt a man of Finance painted Flores to choosing his loved ones as the protagonists Saskia in 1634 Thea he married and in 1635 and Henry Kia stossel's some 12 years later but Rembrandt also led his pupils down the commercial path Ashur Davila painted in the 1630s it is a flora but we can see clearly that is not a Rembrandt who who nonetheless was not averse to keeping the proceeds from his pupils works a document is kept in Berlin handwritten by Rembrandt he recorded a transaction on the reverse of a drawing it says Linda this is Linda at van Baron Lane debts Florie sold for five guilders unique proof that Rembrandt dealt in the works of his pupils trade Commerce is it surprising that Rembrandt cashed in on his success in the booming economy of the Dutch Republic we know of a hundred and ten portraits made by the master all of which fetched respectable sums of money they were commissioned by wealthy Dutch citizens who have since travelled to various parts of the world the wife of a Rotterdam merchant Hershey van Clayburgh now in Amsterdam a councillor of the Dutch East India Company Philip Lucas now in London Maria Tripp daughter of a wealthy merchant in Amsterdam the catholic poet young hermann screw in castle and numerous unidentified portraits in Cincinnati in New York you'll find them in museums the world over apart from those people who were painted by Rembrandt himself such as Nicolas van Bombeck and whose portraits were signed by the master some people had their portrait painted by one of Rembrandt's associates apparently this man the diplomat copal didn't object after all he was on the spot when it happened strangely enough the portrait was signed by Rembrandt it's a fine portrait and it came from his studio so we may assume that the signature was a stamp of approval these Studios hallmark not only was this work created in Rembrandt studio so was this one not by Rembrandt but signed by him not only did this leave his studio so did this not by Rembrandt but signed by him not only this work but this one - both signed by the master so Rembrandt must have been a good teacher or rather a good manager as regards quality control [Music] apprentices had to learn how to begin a drawing how to mix paints how to put together a pallet the most of Rembrandt's pupils knew that before they came to his studio what they wanted was to master the repertoire of a craftsman the tricks of the trade like painting a portrait they had to learn that the shadow under a nose begins sharply and ends blurred that a dab of red has to be applied to the light side of the nostril to suggest the transparency of the skin that the lighter paint in a light zone has to be drawn towards the light that the shadow of a nose begins as a dark tone and becomes lighter that the highlight on an eyelid is reflected in the dark socket that the ball of the eye needs a sparkle and the tears on the lower eyelid are indicated by a white line that the eyeball casts a shadow on the skin next to it and that a touch of light should be dabbed in at the back of the dark part of the cheek reflection of an invisible source of light creating perceptual space that is what Rembrandt taught his pupils [Music] it's quite clear that they tried their best to equal their master in everything they did Rembrandt on the right a pupil on the left still on close scrutiny we can recognize the hand of the pupil a portrait of a woman by Isaac sure Davina quite good at first sight although a connoisseur may take offense at the fact that she's not wearing a headdress but now we take a look at another shoe Davina a portrait of a man a similarity with the first portrait may already create a degree of irritation and a third on all of them we see the sharp shadow of the nose the thick lower lip the stereotyped lighting and especially that blank gaze as if they were portraits of dolls The Apprentice tends to repeat certain characteristics by which we can recognize him as being different from Rembrandt and unfortunately for him as being inferior to Rembrandt and has this painter ever wondered what kind of a forehead would produce such a shadow now we can put it to the test here we see how it should have been done a study of the same woman by Rembrandt who must have been sitting next to his pupil by the way a painting in profiles the same woman shows that she was perfectly well proportioned apprentices betray themselves in unexpected ways this drawing by Rembrandt Daniels vision has been copied by a pupil it is a fine work of art and a good imitation of the example but in the Bible Daniel says in front of me stood a person who looked like a man Rembrandt well versed in the Bible would certainly have painted a man not the angelic little boy we see here the work referred to before Abraham's sacrifice was later corrected by a Rembrandt on a drawing instead of appearing from the side the angel appears from behind which is even more of a surprise later an oil painting was made of the drawing and a good one at that inscribed on it was Rembrandt changed and repainted it is not quite clear whether it was painted by Rembrandt himself or by his pupil fed in an ball of Rembrandt's pupils one has a very distinctive style his first Gerardo the artist taught his apprentice how to master fine painting thou perfected this style during his lifetime as we can see from various portraits he made of Rembrandt's mother it was his specialization his only one and he remained true to it well after his teacher and colleague Rembrandt had moved on to a totally different style Rembrandt had experimented with various surfaces from a very early age for a while he painted on smooth even surfaces but he also tried rougher varieties he strived for maximum expression in his paint even when the market demanded beautiful smooth paintings Rembrandt kept his unique almost sculptured style [Music] his last big Commission the star misters was also painted in that style he had found the form by which he would be remembered [Music] Rembrandt's strong influence made it difficult for painters like Javert flink and Ferdinand ball to go it alone even though they were successful artists and despite the fact that ball was able to rest on his laurels at an early age Rembrandt was ever-present in their work Rembrandt always managed to amaze his colleagues even in genre in which he didn't specialize such as landscapes and just as Javert fleet immediately imitated the sun-drenched treetops painted by his master many an artist both within Rembrandt studio and far beyond painted in a Rembrandt esque fashion for a time and that is how they saw the light of day the typically Rembrandt esque faces and portraits this one is by Javert flink the old men involved in gold this one is by Philips cunning the attempts to conjure up the essence of textures in an almost maniacal manner combinations of soft human skin and metals such as bronze copper and iron this one is by Willem droste the strikingly lifelike portraits this work was painted by one of his best students the man who would possibly about shown Rembrandt but who sadly died in an explosion in Delft Carel fabritius [Music] and the historical scenes painted in Rembrandt's later rough style copied by no one except the loyal earth Derrida who made more than 100 works in this style after Rembrandt's death [Music] this entire massive corpus came to hang in the chic world of art lovers art dealers and art critics and works by Rembrandt were sharply criticized [Music] but things changed in the 19th century the citizens of Europe speak out and rediscover Rembrandt a stubborn genius who couldn't care less about standing or class the romantic ideal Holland becomes a kingdom and nationalism flourishes orange and fatherland are the innards and Holland is in search of national heroes suddenly people remember Rembrandt proud very Dutch very Christian and reviled so things have to be put right of course a statue has to be made like the Belgians did for their master Rubens [Applause] the statue was erected in Amsterdam in cast iron because bronze was too expensive [Music] but the veneration didn't stop at that Rembrandt was almost declared a saint he became a kind of Christ his major works were no longer simply exhibited in the modest house in the hague and the Rijksmuseum in Amsterdam they lay in state admiration had turned into infatuation in the Netherlands and even more so abroad there was no end to the appearance of new books and reports little wonder that of the demand for works by Rembrandt rocketed as did the supply they appeared out of the blue the real ones and the fakes the price was irrelevant as long as it was human and signed and preferably in dark bronze citizens 65,000 70,000 75,000 80,000 eighty-five [Music] following the centennial celebration in 1906 one catalog put the number of Rembrandt works at 988 now things have gone too far [Music] people started to call for a definitive cleanup but it was only in 1968 that the Rembrandt research project was launched in Holland now more than 20 years later five of the original group of experts are still involved in the project park funder waitering Lavy Braun and Fon teal they have seen and analyzed hundreds of Rembrandt works the world over their approach as a group has surprised the art world but they now command deep respect despite the inevitable criticism which their work has aroused the group's task entailed much more than just meetings most of the information used in this program was supplied by the Rembrandt research project which now includes scholars from all over the world they emphasize that the results of their efforts should not be regarded as a Bible despite the fact that the publication looks very much like it their style of writing off paintings has gained worldwide fame the lighting on the canvas the noble Slav now in the Rijksmuseum is typical of Rembrandt more so on the turbine than on his face the way in which the clothing ornaments and background have been portrayed also strongly reminded us of Rembrandt however the creation of perceptual space has shortcomings there are only two shades of brown in the eye socket Rembrandt used several hues to suggest the curvature of the eyelid the crescent shaped light in the left eye is not convincing the fabric of the coat can't be distinguished the clothes have not been draped on the body but have been painted around the body the colors are somewhat murky and the combinations used are not characteristic of Rembrandt the signature is overly elegant and not convincing the Rembrandt research project is broadening its scope pre follow gist of the forensic laboratory in rice fake who are generally involved with blackmailers and check counterfeiters know that the handwriting of each individual has certain characteristics which will inevitably betray him on that principle Rembrandt's authentic signature has been distilled from photographs of a large number of Rembrandt signatures the are begins with a curved down stroke which then makes a sharp bend to the top of the letter the e has a small loop at the top and is stuck to the are at the bottom the down strokes of the M slant slightly to the left the same applies to the AR and both down strokes at the end the B has a small loop at the top and also has a slightly slanted down stroke however the D and the T are quite straight and that is how the graphologist started to make comparisons the most striking discovery was that an imitation signature was found on 60% of the real Rembrandt paintings this means that a signature doesn't say very much about the authenticity of a painting it emphasizes once again that the eye is the most important instrument for recognizing the genius of Rembrandt [Music] so if we cast our eye on a Rembrandt we discover more and more enigmas in some paintings it is inexplicable how the paint was applied to the canvas and how it stayed on without dripping and once again we ask whether perhaps Rembrandt added a secret substance to his paint or binding agent snow sawdust urine breadcrumbs sand all sorts of things were used to cleanse oil or too dry or thicken the paint the Dutch chemical company DSM in hélène is dissolving bits of Rembrandt's paint to trace the origin of his white led they are studying the drying mechanism by analyzing a surface layer which is no bigger than one millionth of they are examining cross-sections of bits of paint in an electron microscope which can visually identify elements such as cobalt oh but all we can see at the moment is the mystery of Rembrandt's paint services [Music] [Music] plus a string of other mysteries because that is indeed what they are how Rembrandt managed to create the impression that his models while sitting for him had forgotten that they were sitting for him there they stand often hesitant timeless the frame around the painting no longer seems to exist we see people the people you meet everywhere wherever you go [Music] the expressions of people who are unexpectedly filmed reveal their most personal sensitivity their vulnerability 300 years ago such expressions were immortalized in paint by a somewhat moody man who said a painting is finished when the artist says it is finished [Music] [Music] [Music] [Music]

Channel: Star Arts

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Keywords: Rembrandt van Rijn, Rembrandt van Rijn docu, Rembrandt van Rijn documentary, Rembrandt van Rijn biography, Rembrandt van Rijn rijksmuseum Amsterdam, Rembrandt van Rijn de nachtwacht, Rembrandt van Rijn auction, Rembrandt van Rijn paintings, Rembrandt van Rijn camera, Dutch Golden Age, Rembrandt van Rijn Vermeer, Rembrandt van Rijn light falls, how to paint like Rembrandt, rembrand van rijn, rembrandt, Rembrandt van Rijn - De Nachtwacht, Mauritshuis, rembr, rembrand, beeldende kunst

Id: HV5nwTFpgNY

Length: 53min 37sec (3217 seconds)

Published: Mon Nov 04 2019