The Letter to Bathsheba (1654), 142 x 142 cm, oil on canvas, held at the Louvre Museum in Paris. Rembrandt (1606-1669) was one of the most representative painters of the Dutch Golden Age, excelling in portraits and group scenes. Influenced early on by Caravaggio, he quickly found his own unique style, using chiaroscuro to unify form and space. His most famous group painting, The Night Watch, is currently held at the Rijksmuseum in Amsterdam, representing the perfect realization of these forms and spaces.

In his religious paintings, Rembrandt, like Caravaggio, abandoned Christian symbolic decorations, expressing God's daily manifestations through naturalistic realism. This is one of the most modern nude paintings of the 17th century; like a mirror of nature, it no longer adheres to the harmonious beauty of the Renaissance or the sacred solemnity of religion. She appears as real as an ordinary person, making this one of the most intimate expressions in all of Rembrandt's works. Through his unique contrast of light and shadow and lighting effects, he presents a vivid and moving Bathsheba. She sits in a quiet bedroom, her sensual body and serene demeanor highlighted by a necklace, a red hair ribbon slipping down her chest, her left hand resting lightly on the bed, her right arm adorned with a bracelet, and holding the letter David sent, while a maid wipes her feet. Under the painter's rigorous composition, the work cleverly and vividly constructs a perfect space.

No one would have guessed that this is a painting with religious mythology: the Bible narrates the story of this young and beautiful woman—King David took Bathsheba's husband, then her second husband became the king's guard, and finally, Bathsheba became the mother of King Solomon. Additionally, Rembrandt's early works, such as Self-Portrait with a Hat and The Philosopher, and his late works, The Slaughtered Ox and The Night Watch, all emit a mysterious atmosphere under special lighting effects.