Question: In Rembrandt paintings, what do people associate with yellow?
About the article "The Night Watch", section "Key elements".

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Rembrandt Peale completed over 600 paintings.
He painted portraits of many notable people, including American presidents George Washington and Thomas Jefferson, Chief Justice John Marshall, and John C. Calhoun.
His paintings are in many public collections. 
In most of his writing and lectures, Van de Wetering portrays Rembrandt as a painter who struggled to create as many marketable paintings as possible, and whose studio turned out a large number of paintings with varying amounts of work by Rembrandt and his apprentices.
He was also able to discover a number of Rembrandt's works which had been repainted by the artist to make them more commercially acceptable.
In 2006, in celebration of Rembrandt's 400th birthday, Van de Wetering was quoted by the Associate Press saying: "My hope for the Rembrandt year would be that somehow we would become free of images, that we look with fresh eyes.
So much research has been done, and so little of this research has come to the knowledge of the general public."
Rembrandt Harmenszoon van Rijn was born on 15 July 1606 in Leiden, in the Dutch Republic, now the Netherlands.
He was the ninth child born to Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuytbrouck.
His family was quite well-to-do; his father was a miller and his mother was a baker's daughter.
Religion is a central theme in Rembrandt's paintings and the religiously fraught period in which he lived makes his faith a matter of interest.
His mother was Roman Catholic, his father belonged to the Dutch Reformed Church.
While his work reveals deep Christian faith, there is no evidence that Rembrandt formally belonged to any church, although he had five of his children christened in Dutch Reformed churches in Amsterdam: four in the Oude Kerk (Old Church) and one, Titus, in the Zuiderkerk (Southern Church).
As a boy he attended Latin school and was enrolled at the University of Leiden, although according to a contemporary he had a greater inclination towards painting; he was soon apprenticed to a Leiden history painter, Jacob van Swanenburgh, with whom he spent three years.
After a brief but important apprenticeship of six months with the painter Pieter Lastman in Amsterdam, Rembrandt stayed a few months with Jacob Pynas and then started his own workshop, though Simon van Leeuwen claimed that Joris van Schooten taught Rembrandt in Leiden.
Rembrandt opened a studio in Leiden in 1624 or 1625, which he shared with friend and colleague Jan Lievens.
In 1627, Rembrandt began to accept students, among them Gerrit Dou.
In 1629 Rembrandt was discovered by the statesman Constantijn Huygens, the father of Christiaan Huygens, (the Dutch mathematician and physicist), who procured for Rembrandt important commissions from the court of The Hague.
As a result of this connection Prince Frederik Hendrik continued to purchase paintings from Rembrandt until 1646.
At the end of 1631 Rembrandt moved to Amsterdam, then rapidly expanding as the new business capital of the Netherlands, and began to practice as a professional portraitist for the first time, with great success.
He initially stayed with an art dealer, Hendrick van Uylenburgh, and in 1634, married Hendrick's cousin, Saskia van Uylenburgh.
Saskia came from a good family: her father had been a lawyer and the "burgemeester" (mayor) of Leeuwarden.
When Saskia, as the youngest daughter, became an orphan, she lived with an older sister in Het Bildt.
Rembrandt and Saskia were married in the local church of St. Annaparochie without the presence of Rembrandt's relatives.
In the same year, Rembrandt became a burgess of Amsterdam and a member of the local guild of painters.
He also acquired a number of students, among them Ferdinand Bol and Govert Flinck.
In 1635 Rembrandt and Saskia moved into their own house, renting in fashionable Nieuwe Doelenstraat.
In 1639 they moved to a prominent newly built house (now the Rembrandt House Museum) in the upscale 'Breestraat' (eng.
: 'Broadway'), today known as Jodenbreestraat in what was becoming the Jewish quarter; then a young upcoming neighborhood.
The mortgage to finance the 13,000 guilder purchase would be a primary cause for later financial difficulties.
Rembrandt should easily have been able to pay the house off with his large income, but it appears his spending always kept pace with his income, and he may have made some unsuccessful investments.
It was there that Rembrandt frequently sought his Jewish neighbors to model for his Old Testament scenes.
Although they were by now affluent, the couple suffered several personal setbacks; their son Rumbartus died two months after his birth in 1635 and their daughter Cornelia died at just three weeks of age in 1638.
In 1640, they had a second daughter, also named Cornelia, who died after living barely over a month.
Only their fourth child, Titus, who was born in 1641, survived into adulthood.
Saskia died in 1642 soon after Titus's birth, probably from tuberculosis.
Rembrandt's drawings of her on her sick and death bed are among his most moving works.
During Saskia's illness, Geertje Dircx was hired as Titus' caretaker and nurse and also became Rembrandt's lover.
She would later charge Rembrandt with breach of promise and was awarded alimony of 200 guilders a year.
Rembrandt worked to have her committed for twelve years to an asylum or poorhouse (called a "bridewell") at Gouda, after learning she had pawned jewelry that had once belonged to Saskia and that he had given to her.
In the late 1640s Rembrandt began a relationship with the much younger Hendrickje Stoffels, who had initially been his maid.
In 1654 they had a daughter, Cornelia, bringing Hendrickje a summons from the Reformed Church to answer the charge "that she had committed the acts of a whore with Rembrandt the painter".
She admitted this and was banned from receiving communion.
Rembrandt was not summoned to appear for the Church council because he was not a member of the Reformed Church.
The two were considered legally wed under common law, but Rembrandt had not married Hendrickje; had he remarried he would have lost access to a trust set up for Titus in the son's mother's will.
Rembrandt lived beyond his means, buying art (including bidding up his own work), prints (often used in his paintings), and rarities, which probably caused a court arrangement to avoid his bankruptcy in 1656, by selling most of his paintings and large collection of antiquities.
The sale list survives and gives us a good insight into Rembrandt's collections, which apart from Old Master paintings and drawings included busts of the Roman Emperors, suits of Japanese armor among many objects from Asia, and collections of natural history and minerals; the prices realized in the sales in 1657 and 1658 were disappointing.
Rembrandt was forced to sell his house and his printing-press and move to more modest accommodation on the Rozengracht in 1660.
The authorities and his creditors were generally accommodating to him, except for the Amsterdam painters' guild, who introduced a new rule that no one in Rembrandt's circumstances could trade as a painter.
To get around this, Hendrickje and Titus set up a business as art-dealers in 1660, with Rembrandt as an employee.
In 1661 Rembrandt (or rather the new business) was contracted to complete work for the newly built city hall, but only after Govert Flinck, the artist previously commissioned, died without beginning to paint.
The resulting work, "The Conspiracy of Claudius Civilis", was rejected and returned to the painter; the surviving fragment is only a fraction of the whole work.
It was around this time that Rembrandt took on his last apprentice, Aert de Gelder.
In 1662 he was still fulfilling major commissions for portraits and other works.
When Cosimo III de' Medici, Grand Duke of Tuscany came to Amsterdam in 1667, he visited Rembrandt at his house.
Rembrandt outlived both Hendrickje, who died in 1663, and Titus, who died in 1668, leaving a baby daughter.
He died within a year of his son, on October 4, 1669 in Amsterdam, and was buried in an unmarked grave in the "Westerkerk". 
He is a mysterious figure, closely associated with Rembrandt, with very few paintings clearly attributable to him.
He was presumably born at Amsterdam, in what was then known as the United Provinces of the Netherlands, but when and where is unknown.
Around 1650, according to Houbraken, he became a student of Rembrandt, eventually developing a close working relationship, painting history scenes, biblical compositions, symbolic studies of a solitary figure, as well as portraits.
As a student, his 1654 painting titled "Bathsheba" was inspired by Rembrandt's painting done in the same year on the same subject and given the same title, though their treatments are rather different; both Drost’s and Rembrandt’s paintings are in the Louvre in Paris.
According to Houbraken he was a painter of historical allegories who had been a pupil of Rembrandt.
Houbraken saw a "Johannes Predicatie" (Sermon of John) by him that was well composed and painted.
He spent a long period in Rome where he became friends with Karel Lot and the well-to-do Utrecht painter Joan vander Meer, who had travelled to Italy in the company of the marine painter Lieve Verschuier in 1653 and became friends with him there.
According to the RKD he was in Amsterdam until 1655 and then travelled to Italy.
He influenced the painter Adolf Boy.
Sometime in the mid-1650s, the young artist went to Rome, where, again according to Houbraken, he collaborated with the German artist Johann Carl Loth on a lost series of the Four Evangelists in Venice.
He died in the latter city in 1659.
Willem Drost's recognized lifetime output of artwork is very small, while Rembrandt is credited with more than 2,000 paintings and etchings, the majority of which are not signed.
In recent years, some paintings attributed to Rembrandt have had their authenticity come under question.
The importance of these Rembrandt works is such that the Foundation Rembrandt Research Project was established in Amsterdam to review the attribution of all of his works.
Scholars have now reattributed a number of Rembrandt's paintings to his pupils and associates. 
Some of the most famous pieces Muhlberger has critiqued are done by Rembrandt, Leonardo da Vinci, and Pablo Picasso.
Along with being a critic, Muhlberger was also a writer.
He is known for a series containing critiques of illustrious authors.
This series is made up of several books, "What makes a Rembrandt a Rembrandt?
", "What makes a Van Gogh a Van Gogh?
", "What makes a Monet a Monet?
", "What makes a Degas a Degas?
", "What makes a Cassatt a Cassat?
", "What makes a Goya a Goya?
", "What makes a Bruegel a Bruegel?
", What makes a Leonardo a Leonardo?
", "What makes a Raphael a Raphael?
", and "What makes a Picasso a Picasso?".
More of his written works include a series titled "The Bible in Art".
It contains the following books "Bible in Art: The Old Testament" and, "Bible in Art: The New Testament".
Muhlberger's latest work is called "Charles Webster Hawthorne: Paintings and Watercolors".