Question: Where did Rembrandt learn to use lighting effects in his works?
About the article "Rembrandt", section "Works".

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Lighting is the deliberate use of light to achieve a practical or aesthetic effect.
Types of lighting include:  Aquarium lighting  Automotive lighting * Emergency vehicle lighting * Ground effects lighting  Backlighting  Bicycle lighting  Cameo lighting  Carbide lighting  Celebratory lighting  Computer graphics lighting * Image-based lighting * Per-pixel lighting * Per-vertex lighting * Unified lighting and shadowing * Volumetric lighting  Cove lighting  Electric lighting  Emergency lighting  Excessive lighting (light pollution)  Fluorescent lighting  Fusion lighting  Gas lighting  Incandescent lighting  Landscape lighting  Library lighting  Mood lighting  Photographic lighting * High-key lighting * Low-key lighting * Rembrandt lighting  Runway lighting  Security lighting  Solid-state lighting  Stage lighting * Intelligent lighting * LED stage lighting  Street lighting  Task lighting  Track lighting  Urban lighting  
  Carel Fabritius paints his "Young Man in a Fur Cap" and "The Goldfinch", showing use of lighting effects with a bright background.
Rembrandt completes "Bathsheba at Her Bath" and "Woman Bathing in a Stream" (both featuring his mistress Hendrickje) and paints a portrait of Jan Six.
Bartholomeus van der Helst paints "The Van Aras Family"  
The 17th and 18th century saw the greatest use of brown.
Caravaggio and Rembrandt Van Rijn used browns to create chiaroscuro effects, where the subject appeared out of the darkness.
Rembrandt also added umber to the ground layers of his paintings because it promoted faster drying.
Rembrandt also began to use new brown pigment, called Cassel earth or Cologne earth.
This was a natural earth color composed of over ninety percent organic matter, such as soil and peat.
It was used by Rubens and Anthony van Dyck, and later became commonly known as Van Dyck brown. 
Throughout his career Rembrandt took as his primary subjects the themes of portraiture, landscape and narrative painting.
For the last, he was especially praised by his contemporaries, who extolled him as a masterly interpreter of biblical stories for his skill in representing emotions and attention to detail.
Stylistically, his paintings progressed from the early "smooth" manner, characterized by fine technique in the portrayal of illusionistic form, to the late "rough" treatment of richly variegated paint surfaces, which allowed for an illusionism of form suggested by the tactile quality of the paint itself.
A parallel development may be seen in Rembrandt's skill as a printmaker.
In the etchings of his maturity, particularly from the late 1640s onward, the freedom and breadth of his drawings and paintings found expression in the print medium as well.
The works encompass a wide range of subject matter and technique, sometimes leaving large areas of white paper to suggest space, at other times employing complex webs of line to produce rich dark tones.
It was during Rembrandt's Leiden period (1625–1631) that Lastman's influence was most prominent.
It is also likely that at this time Lievens had a strong impact on his work as well.
Paintings were rather small, but rich in details (for example, in costumes and jewelry).
Religious and allegorical themes were favored, as were tronies.
In 1626 Rembrandt produced his first etchings, the wide dissemination of which would largely account for his international fame.
In 1629 he completed "Judas Repentant, Returning the Pieces of Silver" and "The Artist in His Studio", works that evidence his interest in the handling of light and variety of paint application, and constitute the first major progress in his development as a painter.
During his early years in Amsterdam (1632–1636), Rembrandt began to paint dramatic biblical and mythological scenes in high contrast and of large format ("The Blinding of Samson", 1636, "Belshazzar's Feast", c. 1635 "Danaë", 1636), seeking to emulate the baroque style of Rubens.
With the occasional help of assistants in Uylenburgh's workshop, he painted numerous portrait commissions both small ("Jacob de Gheyn III") and large ("Portrait of the Shipbuilder Jan Rijcksen and his Wife", 1633, "Anatomy Lesson of Dr. Nicolaes Tulp", 1632).
By the late 1630s Rembrandt had produced a few paintings and many etchings of landscapes.
Often these landscapes highlighted natural drama, featuring uprooted trees and ominous skies ("Cottages before a Stormy Sky", c. 1641, "The Three Trees", 1643).
From 1640 his work became less exuberant and more sober in tone, possibly reflecting personal tragedy.
Biblical scenes were now derived more often from the New Testament than the Old Testament, as had been the case before.
In 1642 he painted "The Night Watch", the most substantial of the important group portrait commissions which he received in this period, and through which he sought to find solutions to compositional and narrative problems that had been attempted in previous works.
In the decade following the "Night Watch", Rembrandt's paintings varied greatly in size, subject, and style.
The previous tendency to create dramatic effects primarily by strong contrasts of light and shadow gave way to the use of frontal lighting and larger and more saturated areas of color.
Simultaneously, figures came to be placed parallel to the picture plane.
These changes can be seen as a move toward a classical mode of composition and, considering the more expressive use of brushwork as well, may indicate a familiarity with Venetian art ("Susanna and the Elders", 1637–47).
At the same time, there was a marked decrease in painted works in favor of etchings and drawings of landscapes.
In these graphic works natural drama eventually made way for quiet Dutch rural scenes.
In the 1650s, Rembrandt's style changed again.
Colors became richer and brush strokes more pronounced.
With these changes, Rembrandt distanced himself from earlier work and current fashion, which increasingly inclined toward fine, detailed works.
His use of light becomes more jagged and harsh, and shine becomes almost nonexistent.
His singular approach to paint application may have been suggested in part by familiarity with the work of Titian, and could be seen in the context of the then current discussion of 'finish' and surface quality of paintings.
Contemporary accounts sometimes remark disapprovingly of the coarseness of Rembrandt's brushwork, and the artist himself was said to have dissuaded visitors from looking too closely at his paintings.
The tactile manipulation of paint may hearken to medieval procedures, when mimetic effects of rendering informed a painting's surface.
The end result is a richly varied handling of paint, deeply layered and often apparently haphazard, which suggests form and space in both an illusory and highly individual manner.
In later years biblical themes were still depicted often, but emphasis shifted from dramatic group scenes to intimate portrait-like figures ("James the Apostle", 1661).
In his last years, Rembrandt painted his most deeply reflective self-portraits (from 1652 to 1669 he painted fifteen), and several moving images of both men and women ("The Jewish Bride", c. 1666)—in love, in life, and before God. 
"Chiaroscuro" also is used in cinematography to indicate extreme low-key and high-contrast lighting to create distinct areas of light and darkness in films, especially in black and white films.
Classic examples are "The Cabinet of Dr. Caligari" (1920), "Nosferatu" (1922), "The Hunchback of Notre Dame" (1939), "The Devil and Daniel Webster" (1941), and the black and white scenes in Andrei Tarkovsky's "Stalker" (1979).
In photography, chiaroscuro often is effected with the use of "Rembrandt lighting".
In more highly-developed photographic processes, this technique also may be termed "ambient/natural lighting", although when done so for the effect, the look is artificial and not generally documentary in nature.
In particular, Bill Henson along with others, such as W. Eugene Smith, Josef Koudelka, Garry Winogrand, Lothar Wolleh, Annie Leibovitz, Floria Sigismondi, and Ralph Gibson may be considered some of the modern masters of chiaroscuro in documentary photography.
Perhaps the most direct intended use of chiaroscuro in filmmaking, would be Stanley Kubrick's "Barry Lyndon".
When informed that no lens currently had a wide enough aperture to shoot a costume drama set in grand palaces using only candlelight, Kubrick bought and retrofitted a special lens for these purposes: a modified Mitchell BNC camera and a Zeiss lens manufactured for the rigors of space photography, with a maximum aperture of f/.7.
The naturally unaugmented lighting situations in the film exemplified low-key, natural lighting in filmwork at its most extreme outside of the Eastern European/Soviet filmmaking tradition (itself exemplified by the harsh low-key lighting style employed by Soviet filmmaker Sergei Eisenstein).
Sven Nykvist, the longtime collaborator of Ingmar Bergman, also informed much of his photography with chiaroscuro realism, as did Gregg Toland, who influenced such cinematographers as László Kovács, Vilmos Zsigmond, and Vittorio Storaro with his use of deep and selective focus augmented with strong horizon-level key lighting penetrating through windows and doorways.
Much of the celebrated film noir tradition relies on techniques Toland perfected in the early thirties that are related to chiaroscuro (though high-key lighting, stage lighting, frontal lighting, and other effects are interspersed in ways that diminish the chiaroscuro claim).