The painting appears to be a fragment of a considerably larger self-portrait. The painting must have been substantially reduced on the left, now showing only part of the original composition; the chair on the left is probably a later addition, apparently intended to balance the composition on this side when the canvas was reduced. In the right lower corner part of the manuscript, fingertips with pen and rim of the inkwell of a scribe.
Oil on canvas x 82 Rijksmuseum Amsterdam b Rembrandt and the painter of a. Companion piece to a: Rembrandt workshop, Portrait of a man Balthasar Coymans?
The painting has been cropped on all four sides Q Portrait of a Man with a Hawk Oil on canvas x The series of curved cracks in the panel and paintlayer are typical for paintings on mahogany panels Q Bust of a Woman Ruth? The darker parts of the costume were originally lighter and more colourful Q Sarah Waiting for Tobias Oil on canvas The painting is covered by a layer of yellowed varnish Q The Prophetess Anna in the Temple or c. Studio copy after a lost Circumcision which was part of the Passion series for Frederik Hendrik , in or after A vertical strip, wide c.
Along the bottom the painting was c. The top right square piece of canvas above David was replaced by a fragment of a seventeenth-century painting and overpainted Q Susanna and the Elders c. It is covered by a disturbing layer of yellowed varnish Q Hendrickje with Fur Wrap c. It is covered by a disturbing layer of yellowed varnish Q Portrait of a Man c. The original proportions of the canvas were 4: Strips are missing from the bottom and right.
In the process of changing the format of the painting the remaining part with the figures was slightly tilted to the left Q Woman at an Open Half-door c. At least 8—10 cm of the canvas are missing at the right. Along the bottom a strip of c. The figure of Joseph and the left part of the pillow seem to have been added by a later hand on the basis of a rough underpainting by Rembrandt Q Oil Sketch of an Old Man c. Blisters and traces of other fire-damage are still visible along the upper edge and in the hands of the dissector, Dr Deyman Q Young Man Seated at a Table c.
The painting and its companion piece seems to be a fragment of a full-size portrait Q Portrait of a Lady with an Ostrich Feather Fan c. The canvas has been cropped on all sides Q Juno c. Possibly part of a tripartite series with and The painting appears to be a fragment of a considerably larger self-portrait Q Portrait of Titus van Rijn Oil on canvas Many of the contours have been strengthened by a later hand Q Posthumous Portrait of Saskia van Uylenburgh as Flora c. The painting is covered with a yellowed varnish Q Hendrickje Stoffels c.
Self Portrait Oil on canvas 81 x In the right lower corner part of the manuscript, fingertips with pen and rim of the inkwell of a scribe Q Self-portrait as the Laughing Zeuxis while Painting an Old Woman Oil on canvas A 10 cm wide strip has been added or replaced along the right edge Q Self-Portrait at the Age of 63 Oil on canvas 86 x The painting is now almost hidden behind a strongly discoloured or tinted layer of varnish under which there also seem to be extensive overpaintings Q Self-portrait Oil on canvas A Corpus of Rembrandt Paintings I — Ernst van de Wetering.
The Stoning of St. The Baptism of the Eunuch. Museum Catharijneconvent , Utrecht. Balaam and the Ass. The Flight into Egypt. Paul Getty Museum , Los Angeles. Indianapolis Museum of Art. Lighting Study in the Mirror. National Gallery of Ireland , Dublin. Judas Repentant, Returning the Pieces of Silver. Museum of Fine Arts, Boston. National Gallery of Victoria , Melbourne. Germanisches Nationalmuseum , Nuremberg. Isabella Stewart Gardner Museum , Boston.
Jeremiah Lamenting the Destruction of Jerusalem. Tyrolean State Museum , Innsbruck. Agnes Etherington Art Centre , Kingston. Statens Museum for Kunst , Copenhagen. The Raising of Lazarus. Los Angeles County Museum of Art. The panel, which was originally taller, must have been cropped at top and bottom. An ultramarine blue sky was discovered under a greyish overpainting and taken to be the original sky. The Rape of Europa. Art Institute of Chicago.
Hermitage Museum , Saint Petersburg. A Lady and Gentleman in Black. The painting must have been substantially reduced on the left, now showing only part of the original composition; the chair on the left is probably a later addition, apparently intended to balance the composition on this side when the canvas was reduced. Kunsthistorisches Museum , Vienna.
Metropolitan Museum of Art , New York. Rembrandt and mainly workshop. Schloss Wilhelmshöhe , Kassel. Academy of Fine Arts Vienna. Companion piece to 65a: The face has suffered from surface wear.
Dulwich Picture Gallery , London. Fine Arts Museums of San Francisco. Portrait of a year-old Woman, possibly Aeltje Pietersdr Uylenburgh.
The Anatomy Lesson of Dr. Herzog Anton Ulrich Museum , Braunschweig. Portrait of a Man Rising from his Chair. Taft Museum of Art , Cincinnati. Portrait of a Young Woman with a Fan. Museum of Fine Arts, Houston. An 18th-century document provides evidence that the painting originally measured c. National Gallery of Art , Washington. National Gallery of Canada , Ottawa.
Christ in the Storm on the Sea of Galilee. The Descent from the Cross. Hunterian Museum and Art Gallery , Glasgow. Norton Simon Museum , Pasadena. Portrait of Maerten Soolmans. Joint ownership by Rijksmuseum and The Louvre. Portrait of Oopjen Coppit. Joint ownership between The Louvre and Rijksmuseum.
Leiden Collection , New York. Liechtenstein Museum , Vienna. Sophonisba Receiving the Poisoned Cup. National Gallery in Prague. Portrait of Petronella Buys. Originally rectangular and possibly also larger below. Cleveland Museum of Art. Self-portrait wearing a white feathered bonnet. Self-portrait as the Prodigal Son in the Tavern. The reconstruction of the stretcher on the basis of the X-ray shows just how much the painting was reduced in size.
The paint surface of the lower part of the remaining fragment suffered badly, such that it had to be repainted. The Rape of Ganymede. On the basis of the pattern of cusping, it may be concluded that the painting was tilted to the left by later hands and cut to shape accordingly. This is also apparent from the edge of the table and the stream of wine poured from the jug by the woman on the right. The Blinding of Samson. The mill together with its immediate surroundings was originally placed in a flat Dutch landscape.
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