Exclusively for children from 8 years old

Have your portrait taken in the style of Rembrandt during the autumn holiday break. Who would you have been in the seventeenth century? A princess, a magician or maybe a sun king? Take a dive in Rembrandt’s dress-up box, choose the hat that suits you best and experiment with the lighting. It’s like being in Rembrandt’s studio. Photographer Marije van der Hoeven made the photo series ‘Hat On For Rembrandt’ together with primary school children in Amsterdam, which is now part of the exhibition Hello Rembrandt! / Hat On For Rembrandt. Especially for this workshop, Marije van der Hoeven is coming to the museum to take your picture too. The photo will be sent to you digitally afterwards.

This workshop lasts one hour and is suitable for children from 8 years old. There is room for 8 children per session. Adults cannot participate in the workshop; adults are of course welcome to visit The Rembrandt House Museum in the meantime (after having purchased an entrance ticket).

Dates and times

Sunday 17 October: 11am – 12pm and 2pm – 3pm.

Wednesday 20 October: 11 a.m. – 12 noon (Sold out!) and 2 – 3 p.m. (Sold out!)

Sign up and tickets

A ticket for the workshop costs 5 euros per child after having purchased a regular ticket for the museum. You can only register by sending an e-mail to

Hansken documentary on Vimeo

Did you miss our exhibition about the elephant Hansken? We made a documentary about her incredible story in which we take you on a tour of the exhibition. This exclusive 15 minute film can be viewed for only 4,99 euro/4,99 dollar on Vimeo. Dive into the seventeenth century and support our museum as well! Watch it here:


Restored: Painting by Ferdinand Bol

The painting Elisha Refusing Naaman’s Gifts (1661) has recently been smartened up by conservators and a team of experts. Now it can be seen in all its beauty in The Rembrandt House Museum. That is great news, because it is an important work of art for the museum. It was painted by one of Rembrandt’s most successful pupils: Ferdinand Bol. He made the painting for the Amsterdam Lepers’ Asylum, which was located in the Jodenbreestraat. Fittingly, the painting depicts a story from the Bible about leprosy.

The painting had last undergone extensive treatment in 1945. Meanwhile, the canvas showed a number of cracks and the paint curled up in a number of places. To prevent the paint from peeling there, it had to be flattened and secured. In addition, the varnish layer was dirty and old overpaints discoloured. These needed to be removed and replaced. This process also revealed original changes made by Ferdinand Bol himself. To find out more, take a look on this page

The conservation treatment Ferdinand Bol’s ‘Elisha Refusing Naaman’s Gifts’ from 1661 (longterm loan from the Amsterdam Museum) was made possible due to financial support from the Vereniging Rembrandt (thanks in part to its BankGiro Loterij Restauratiefonds) and the BROERE CHARITABLE FOUNDATION.


Back to then: the courtyard

We set up a new space in The Rembrandt House Museum: the courtyard. Immediately upon entering the museum you get an impression of ​​what this place must have looked like in Rembrandt’s time. The eye-catcher is the outhouse, Rembrandt’s toilet.

Not everyone had their own outhouse at their disposal. One could relieve themselves in bowls (made for this specific use). And there were several public toilets in the city. Rembrandt did have his own outhouse in his courtyard. We know that because in the winter of 1996 an old cesspool was discovered in the ground there. In addition to feces, cesspools also collected household waste that was disposed of with ease. For that reason, they often contain valuable information about past habitation. When archaeologists emptied the cesspool of Rembrandt’s house in 1997, they found various utensils from the period in which Rembrandt lived and worked in the house. Among them were two pots, which Rembrandt used in his painting studio. New material-technical research into the remains on the inside of the pots confirmed this in 2019. These two pots have been on display in Rembrandt’s studio ever since.

The courtyard has been designed in collaboration with architectural historians, with a new outhouse in the place where it must have been in the past: right above the cesspool. In the courtyard you can also see objects related to the household work that took place in such a courtyard: a rain barrel, buckets, a broom and a goose basket. This redesign was made possible with the support of the Friends of The Rembrandt House Museum.



Like so many museums and cultural institutions, The Rembrandt House Museum faces great difficulties due to the corona crisis. This is why Willem Jan Hoogsteder – collector, dealer and chair of the Hoogsteder Museum Foundation – together with his wife Karin Hoogsteder decided to support the museum in a special way: with the gift of a painting from their private collection. The painting Shepherdess in a Landscape was made in 1641 by Ferdinand Bol, one of Rembrandt’s most famous pupils. This work will go on view as the museum reopens, in the Salon, the room where Rembrandt lived and slept, in The Rembrandt House Museum. In the same house, Ferdinand Bol took instruction from Rembrandt in the seventeenth century.



There will be much new to see shortly in Rembrandt’s old house. Besides the recent gift of a painting by Ferdinand Bol, there is a parade of six new additions of old and new masters on the walls.

A merry company by Adriaen Brouwer, Peasants Playing Cards in a Tavern from 1624/25 has made its entrance in the former living room. We know that Rembrandt collected works by the Flemish Brouwer, including a “piece with players”. It remains unknown, if this was that artwork. The painting is a long term loan from the art dealer Sander Bijl. A couple of steps further, in the entrance hall, a black man proudly looks out to us in the painting The Baptism of the Eunuch from 1630-36 by Rembrandt and assistants, a loan from the collector couple George and Ilone Kremer. Under the upper, colourful paint layer that was executed by Rembrandt’s assistants, something special is hidden: a sketch by Rembrandt himself.

The old masters are joined by work by two new masters: contemporary artists Iriée Zamblé (1995) and Timothy Voges (1993). During their residency in Rembrandt Open Studio (2020) they made new work inspired by Rembrandt’s depictions of the old. Four paintings by the young makers will be on view in the permanent display in Rembrandt’s home.