A color signifying solemnity in Rembrandt’s religious works, appearing often in the details of holy robes.

The shadowed blush on a woman’s face or the shade of pale fabric, adding a soft, delicate texture.

Used sparingly as an accent color in paintings, such as for fruit and flowers, to break up dull tones.

The flush on a figure's face or the color of small flowers, darker than earthy orange red and blending more into the composition.

A color often used for the shadow areas of skin in Rembrandt's figures, with a warm, earthy texture.

A midtone color for a figure's face, transitioning between light and shadow to enhance the sense of dimensionality in the skin.

The lit color of objects near a light source, such as a wooden tabletop under candlelight.

A midtone for the face of a young figure, softer than terracotta orange, reducing heaviness.

The shadows of a young figure's clothing or light-colored fabric in the background, with a more ochre-like texture than warm gray brown.

The dark areas of a young figure's clothing or dark fabric in the background, browner than ochre gray brown.

The lit surfaces of light-colored clothing or lit areas of the background, a warm yellow with an ochre texture.

The bright areas of a figure's clothing or lit areas of the background, a warm yellow with an ochre tone.

The highlight areas of a painting, such as the reflections on metal objects and the bright parts of candlelight.

A midtone for exposed skin such as a figure's hands and arms, softer than warm brown yellow.

The shadows of light-colored wooden furniture or light wooden decor in the background, a soft transition.

The bright color of light wooden furniture such as desks and chairs, with a soft wooden luster.

The lit surfaces of children's clothing or light fabric, with a lively warm yellow tone.

The bright areas of a figure's clothing or areas lit by light in the background, with a soft warm yellow tone.

The central color of a light source in a painting, such as the core of an oil lamp or candle flame, the brightest warm tone.

The shadow color of pottery jars and plants in still-life paintings, balancing the warm tones of the composition.

The color of worn fabric or the creases of an elderly person’s skin, carrying a sense of the passage of time.

The red detail in the darkest areas of a painting, such as the shadowed red embroidery on dark clothing.

The shadow in a woman’s hair or under a pale hat, adding a soft quality.

The soft shadow on a woman’s face or under a pale scarf, adding a gentle, graceful mood.

The shadow where the skin of an elderly face sags, bringing out the texture of the skin.

The delicate shadow on a woman’s face or the midtone of a pale scarf, warmer than gray red brown.

The shadow where hair meets the face, enhancing the sense of volume in the head.

The main color of leather goods such as book covers and leather shoes, bringing out the texture of leather.

The deepest shadow of the lips or the darkest part of red fabric, deepening the color.

The color of aged wine or the shadowed parts of dark fruit, enriching the color layers of a painting.

A common color for the shadowed parts of noble clothing, combining the luxury of red with the composure of brown.

The shadow of pale clothing or the side profile of a face, softly bridging light and dark.

Worn red fabric or the shadowed skin of an elderly person, with a faded, timeworn feel.

The color of sacred ornaments in religious painting, or the shadow of wrinkles on an elderly face.

The color deep within the hair or the shadow of a beard, enhancing the volume of the hair.

The red reflection in the darkest areas of a painting, such as the red fabric reflected in the folds of dark clothing.

The red cast in the shadows at the edges of a painting, avoiding the monotony of pure black.

The shadowed folds of holy robes in religious painting, or the decorative color of pottery jars in still lifes.

The deep shadow where an elderly person’s skin sags, browner than gray red brown.

A metallic red deeper than gold red brown, used to render the shadowed parts of metal objects.

The shadow color of leather goods such as leather gloves and bags, enhancing the weight of the leather.

The shadow where hair meets the scalp, enhancing the sense of volume in the head.

The deepest part of the hair or the base of a beard, enhancing the density of the hair.

The deep shadow of leather goods, enhancing the weight and volume of the leather.

The lit surface of metal ornaments combined with red reflection, heightening the refinement of a painting.

The color where metal objects meet red fabric, showing the influence of ambient color.

The shadow color of noble jewelry and gemstones, combining metallic sheen with the luxury of red.

The shadow color of terracotta objects, enhancing the roughness and weight of handmade pottery.

The color of building materials such as bricks and earthen walls, conveying the texture of rustic architecture.

The midtone of leather goods, bridging the main color and the shadow, bringing out the texture of leather.

The shadow color of distant figures or secondary objects, reducing saturation and contrast.

The transitional color between the shadowed skin of a figure and the shadow of clothing, enhancing color continuity.

A standard dark brown.

The deep orange detail within the shadowed areas of a painting, such as the true color of a warm-toned object in shadow.

The main color of pottery jars and bowls, carrying the rough texture of handmade pottery.

The main color of handmade terracotta objects, carrying the rough texture of natural clay.

The color where metal ornaments meet brown fabric, showing the blending of ambient color.

The shadow of wrinkles on a middle-aged face or the shaded part of red clothing, deeper than earthy red brown.

The accent color on the bright parts of fruit or in the faint areas of a flame, deeper than brown red orange.

The shadow color of bricks and earthen walls, conveying the weight and rusticity of building materials.

The red cast in the shadowed parts of metal objects, showing the influence of ambient color on metal.

The midtone of bricks and earthen walls, bridging the lit surface and the shadow, bringing out the texture.

The darkest part of fruit or the deep shadow of a warm-toned pottery jar, enhancing the volume of a still life.

The red cast in the darkest corner of a painting, enriching the color layers of the shadows.

Used sparingly as a bright accent, such as the edge of a flame or the lit part of fruit.

The lit surface of metal objects combined with the reflection of red fabric, heightening the splendor of a painting.

The red cast in the shadow of metal ornaments, showing the influence of ambient color on metal.

The deep shadow of wrinkles on an elderly face or the darkest part of red clothing, adding depth.

The orange reflection in the shadowed areas of a painting, such as that of a warm-toned wall in shadow.

The orange detail in the shadowed areas of a painting, such as the orange cast in the shadow of a warm-toned pottery jar.

The lip color of a middle-aged person or the shaded part of red clothing, deeper than warm brown red.

The shadowed part of the lips or the midtone of red clothing, softer than deep ochre red.

The shadow of the flushed areas of a face or the midtone of red fabric, browner than warm red brown.

The flushed areas of a face or the midtone of red fabric, warmer than ochre red brown.

The shadow where skin meets clothing, combining the qualities of skin tone and garment color.

The deep base tone common in Rembrandt’s works, used to create a sense of weight and historical atmosphere.

The shadowed part of fruit such as apples and persimmons, deeper than brown red orange and blending more into the shadows.

The main color of large furniture such as wooden chests and chairs, conveying a weighty material feel.

The color of background walls or secondary still-life objects, reducing saturation to set off the main subject.

The shadow where skin meets orange clothing, combining the qualities of skin tone and garment color.

The main color of large still-life objects such as pottery jars and wooden chests, conveying a weighty material feel.

The orange detail within the shadowed background, such as the orange reflection in the shadow of a pottery jar.

The facial skin tone of a middle-aged person, deeper than classical ochre, conveying a mature quality.

The transitional color between the bright and shaded parts of fruit, combining the liveliness of orange with the composure of brown.

The color of distant scenery or secondary objects, reducing contrast to set off the main subject.

A metallic color deeper than dark gold brown, used to render ancient bronze and iron objects.

The orange reflection in the darkest areas of a painting, such as the faint influence of a warm light source in deep shadow.

The main color of a figure’s hair, warmer than charcoal gray, avoiding a cold, hard feel.

The darkest corner of a painting, browner than black brown red, avoiding too strong a red cast.

The midtone of skin on a figure’s arms and legs, more ochre-like than warm brown tan.

The transitional color on the bright parts of a young figure’s clothing, or pale wooden decor in the background, with a soft texture.

The midtone of large areas of skin such as a figure’s shoulders and chest, bridging the light and dark regions.

The main color of wooden furniture and instruments, carrying the texture of natural wood grain.

The main color of large wooden furniture such as wardrobes and dining tables, bringing out the natural texture of the wood.

A metallic color deeper than antique bronze gold, used to render heavy metal objects such as bronze cauldrons.

The deep shadow color of ancient bronze and iron objects, conveying the weight of metal and the sense of age.

The midtone of metal objects, bridging the highlight and the shadow, bringing out the metallic texture.

Sweet amber.

The color where metal objects touch brown fabric, showing the blending of materials.

The shadowed part of large areas of skin such as a figure’s back and shoulders, bridging the midtone and the shadow.

The midtone of skin on a figure’s abdomen and waist, bridging the light and dark regions of the torso.

A brownish yellow modeled on pine nuts — warm and soft; commonly used in folk textiles and ceramics, conveying a friendly feel.

The earthy yellow of heavy dust-storm weather — poor visibility, sky and earth as one color.

The color of still-life objects such as grain and bread, carrying the warm tone of natural ingredients.

The yellow cast in the shadows at the edges of a painting, balancing the cold and warm of the shadows.

The color of the face of a wooden instrument such as a violin, carrying a fine wood-grain texture.

The midtone of pale wooden furniture, bridging the bright parts and the shadow, bringing out the wood grain.

The shadow color of still-life objects such as grain and bread, deeper than deep yellow brown, enhancing the sense of volume.

The deep yellow detail within the shadowed background, such as the true color of a wooden structure in shadow.

The yellow reflection in the shadowed areas of a painting, such as the faint reflection of a warm light source in shadow.

The edge of a highlight on a metal object, grayer than gold brown gray, softening the transition of the highlight.

The transitional highlight color of a metal object, darker than gold brown yellow, bridging the highlight and the shadow.

The color of a shadowed background or an object’s cast shadow, darker than warm brown yellow, enhancing the sense of space.

The yellow detail within the shadowed background, such as the color of wooden decor in shadow.

The yellow cast in the shadowed background, such as the color of wooden furniture in shadow.

For the lighter passages of a youth figure's clothing or pale background walls, softening the mood of the picture.

For the midtones of a figure's clothing or pale background fabric, warmer than a warm gray-taupe.

For the soft shadows of a youth's face or pale background walls, more brown than a warm gray-brown.

The base tone for an elderly figure's graying hair, or the color of aged paper.

For distant trees in outdoor scenes or large indoor plants, balancing the warm tones.

A shadow color for large background areas like floors and walls, setting a composed base for the picture.

For the shadows of metal objects or the surface of aged metal, with an oxidized quality.

A midtone for large background areas like floors and walls, bridging highlights and shadows.

A background color for large areas like floors and walls, setting a composed base for the picture.

For foreground plants in outdoor scenes or small indoor plants, more brown than a brown-green-gray.

The color of aged paper and book pages, with the texture of accumulated years.

For distant buildings or secondary figures, lowering contrast to bring out the foreground.

A shadow color for distant plants in outdoor scenes, grayer than a brown-green-taupe, deepening the sense of depth.

A shadow color for distant objects or secondary figures, lowering contrast to bring out the foreground.

For the shadows of leafy vegetables in still lifes or distant scenery in outdoor scenes.

For shadows in outdoor scenes or indoor plants, adding cool balance to a warm-toned picture.

A shadow color for green vegetables like spinach and green peppers in still lifes, enriching the tonal layers.

A midtone for green vegetables in still lifes, bridging highlights and shadows and enriching the layers.

An ambient shadow color, often used for background vegetation or dark fabrics, enriching the picture's layers.

A shadow color for dark pottery and porcelain, injecting cool detail into a warm-toned picture.

A shadow color for dark porcelain and pottery, deeper than a dark brown-green, enhancing texture.

The color of the darkest areas of a picture, such as the gaps in hair or the depths of clothing folds.

A gray tone in the shadowed edges of a picture, balancing the warmth of reds and browns.

For the corners of a picture or the shaded sides of objects, cooler than a black-taupe-gray, enhancing contrast.

The core color of shadow areas in a composition; it uses the contrast of light and dark to set off the subject, embodying the Rembrandt lighting effect.

The deepest part of the edges or shadows of a composition, reinforcing a sense of spatial depth.