kitty titties

The Storm on the Sea of Galilee (1633) by Rembrandt van Rijn

Current Location: unknown, stolen in 1990 from the Isabella Stewart Gardner Museum, Boston

The Story of Rembrandt's Prodigal Son

There are also subtler aspects to the lessons of the Akedah. There are limits to what may be done in the name of love or awe of G-d. Maimonides cautions that false prophets may arise preaching messages that are inconsistent with this principle and he urges don’t believe them. This message is particularly poignant in our times. G-d does not desire the faithful to drive a truck into innocent pedestrians in order to kill or maim them, in his name or otherwise. Proclaiming Allahu Akbar, while doing so, doesn’t change this basic truth. Anyone who says otherwise is not speaking in G-d’s name; don’t be misled.

Rav Yosef Ibn Caspi[xlv], further develops the theme of the Akedah expressed by Maimonides. He too explains that it was not a test to prove Abraham’s mettle. Rather, it was a means of publicizing the principle that G-d did not want human sacrifices. The Akedah was designed to inform the world of this fundamental principle of faith. In modern parlance, it was a teachable moment. It was designed to uproot, undermine and weaken the established, albeit mistaken, belief, embedded in the hearts of the people, that it was noble to sacrifice children to their deities.

The binding of Isaac symbolically adds a further dimension to this ethic. Self-sacrifice may seem entirely noble, but there are also limits on this kind of seemingly virtuous behavior. It is not always wise for a person to sacrifice his or her self for a cause. Like most things in life, these are not casual decisions that can be made on a whim. The Talmud[xlvi] is extremely circumspect on when self-sacrifice is appropriate. In this regard, consider the circumstances of Isaac’s argument with Ishmael prior to the occurrence of the Akeida, reported in the Talmud, as noted above. It appears to have been foolish for Isaac to offer to sacrifice himself to win what amounts to a childish dare contest about who was more courageous. Yet, as the Talmud notes, it precipitated the Akeida. While, this may appear to be a harsh punishment for an irresponsible and imprudent boast, in the context of this analysis, it provides a compelling reason for Isaac’s participation in this dramatic presentation. It may also help explain another esoteric description of what occurred at the Akeidah, recorded in the Zohar[xlvii].

Rembrant,Philosopher reading 1631

"ヘンドリッキェ”　レンブラント‥ファン‥レイン　模写

2023．8．19

F8　油絵

Rembrant

Felt like doing something quick and self-indulgent - so a stuff of one of Rembrant's self portraits - only it's me. 

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24 febbraio 2009

– Rembrant – San Paolo alla scrivania – …perch’io, che nella notte abito solo,anch’io di notte, strusciando un cerinosul muro, accendo cauto una candelabianca nella mia mente – apro una velatimida nella tenebra, e il penninostrusciando che mi scricchiola, anch’io scrivoe riscrivo in silenzio e a lungo il piantoche mi bagna la mente… Giorgio Caproni

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BARROCO

La ronda de noche. Rembrandt, 1642.

Tivoli Hotels estreia-se na Holanda com hotel em Amsterdão

A Tivoli Hotels & Resorts inaugurou o Tivoli Doelen Amsterdam, na Holanda, após rebranding do atual NH Collection Doelen, localizado no centro da cidade junto aos canais. A unidade está instalada num edifício reconhecido na cidade com as suas raízes no século XVI e a história do hotel começou como um antigo Kloveniersdoelen, lugar onde aristocratas militares faziam as suas práticas, assim como reuniões, festas e banquetes. O Tivoli Doelen Amsterdam é o hotel mais antigo de Amsterdão e dispõe de 81 quartos de diversas tipologias que vão dos quartos superiores às suítes e complementa-se com o restaurante Omber, bar Omber, sala/escritório com internet, parque de estacionamento. Casa original da famosa pintura de Rembrandt Van Rijn, O Cavaleiro da Noite (que foi concluída em 1642), este quadro esteve pendurado, durante anos, na parede de uma das atuais suites até se mudar para o famoso museu Rijksmuseum em Amsterdão. O hotel oferece wi-fi gratuito e aceita animais de estimação. As tarifas no Tivoli Doelen Amsterdam Hotel começam em 200 euros para um quarto Superior, incluindo pequeno-almoço para duas pessoas. Para uma verdadeira experiência holandesa, os hóspedes podem reservar a Suíte Rembrandt de 47 metros quadrados, que conta com uma réplica perfeita da obra O Cavaleiro da Noite, exatamente na mesma parede onde a obra-prima original ficou pendurada por 70 anos. Outro quarto com história é a Suíte da Imperatriz, que já foi o boudoir da Imperatriz Elisabete da Áustria, mais conhecida como Sissi. Com um design exclusivo em forma de C para maximizar a vista sobre os canais, esta suíte possui uma cama king-size e um teto decorado com escudos holandeses, símbolo de proteção.   Read the full article

thumbnails for my anthro ocs on artfight!

Rembrandt Harmenszoon van Rijn 1606-1669 “Scholar at his Writing Table” 1641 Photo is taken by: @robertpuffjr The sitter wears a black hat, a grey-brown cloak with a hint of green, lined with dark brown fur, and a gold chain. The subject of old scholars and philosophers is popular in Rembrandt's oeuvre. The face of the man in picture is distinctive because of specific details such as the wart on the left cheek and the red nose, suggesting a concrete sitter. The picture is painted on poplar panel. The Royal Castle paintings are therefore two of five examples where Rembrandt or his workshop might have used poplar panels. Rembrandt probably bought a small batch of such panels c. 1639–41 and experimented with them. (This writeup is taken from the description at the museum.) Royal Castle in Warsaw, Poland 🇵🇱 #rembrandt #rembrant #royalcastle #warsaw #poland🇵🇱 #poland #rembrandtvanrijn #historyofart #arthistory #greatworksofart #artmuseum #art #artist #masterpiece #painting #museumvisit #artlover #artists #artblogger (at Royal Castle, Warsaw) https://www.instagram.com/p/CjhECg_L_Xy/?igshid=NGJjMDIxMWI=

Rembrandt

The Man with the Golden Helmet. 1650. Oil on canvas: 67 × 50 cm (26 × 20 in). Formerly attributed to Rembrandt, today considered to be a work by someone in his circle.

Rembrandt van Rijn

Drawings