Around 1640 Rembrandt painted a number of portraits of distinguished, withdrawn figures, all bathed in subdued light.

Rembrandt's portrait commissions from the regent class evaporated into thin air after 1640. However, this was not the case with merchants, manufacturers, tradesmen and professionals. The rate at which Rembrandt painted and etched portraits of people in this category never deviated after 1636.

Herman Doomer
1640
Oil on wood, 75 x 55 cm
Metropolitan Museum of Art, New York



Hendrickje in Bed
1648
Oil on canvas, 81 x 67 cm
National Gallery of Scotland, Edinburgh




Portrait of Baartgen Martens Doomer
1640
Oil on wood, 76 x 56 cm
The Hermitage, St. Petersburg



Portrait of Nicolaes van Bambeeck
1641
Oil on canvas, 109 x 83 cm
Musйes Royaux des Beaux-Arts, Brussels



Agatha Bas
1641
Oil on canvas, 104 x 82 cm
Royal Collection, London



The Mennonite Minister Cornelis Claesz. Anslo in Conversation with his Wife, Aaltje
1641
Oil on canvas, 176 x 210 cm
Staatliche Museen, Berlin



The Mennonite Minister Cornelis Claesz. Anslo in Conversation with his Wife, Aaltje (detail)
1641
Oil on canvas
Staatliche Museen, Berlin



Portrait of Saskia with a Flower
1641
Oil on wood, 99 x 83
Gemäldegalerie, Dresden



Young Girl Leaning on the Windowsill
1645
Oil on canvas, 82 x 66 cm
Dulwich Picture Gallery, London



Portrait of Ephraim Bueno
1647
Oil on panel, 19 x 15 cm
Rijksmuseum, Amsterdam



Portrait of a Man Holding Gloves
1648
Oil on wood, 81 x 67 cm
Metropolitan Museum of Art, New York



Young Jew as Christ
c. 1648
Oil on wood, 25 x 21,5 cm
Staatliche Museen, Berlin