Question: What was the purpose Rembrandt intended when making art?
About the article "Rembrandt", section "Works".

Candidate passages:
  Refuge: a planet settled by religious separatists from Haven.
Rembrandt: located in the Talbott Cluster, a cluster of star systems close to the fringes of the Solarian League.
Rembrandt was founded by Renaissance revivalists looking to resurrect Renaissance culture and art; however, these goals were quickly abandoned after the colonists discovered Rembrandt's cold and blustery climate.
Rembrandt is much better known for its merchant marine and the Rembrandt Trade Union, a merchant cartel established by Bernardus Van Dort in 1870 P.D.
The RTU was originally intended to improve the economy of Rembrandt to gain a better negotiating position for Rembrandt's future in the colonization of the Talbott Cluster by the Solarian Office of Frontier Security, seen as inevitable at that time.
Through its deals with other worlds in the Talbott Cluster, Rembrandt prospered, and became one of the wealthiest planets in the Cluster  — so much so, in fact, that the Rembrandt Stellar is the most widely accepted currency in the Talbott Cluster.
This prosperity came at a cost, however.
The RTU's chief contract negotiator, Ineka Vaandrager, in her negotiations with other worlds, used aggressive and retaliatory tactics to extract deals that were significantly more beneficial to Rembrandt than the worlds they negotiated with.
This gained Rembrandt and the RTU a reputation as home to a group of exploitative profiteers, and fostered animosity among the populations of the worlds Rembrandt negotiated with.
When the Star Kingdom of Manticore discovered the Lynx Terminus of their wormhole junction leading to the Talbott Cluster, Rembrandt led the push for the annexation of the Cluster by the Star Kingdom.
The animosity held toward Rembrandt by the rest of the cluster proved to be an obstacle to annexation  — especially when Bernardus Van Dort resigned as chairman of the RTU to lobby for the annexation effort in the committee for negotiating the terms of the annexation.
This animosity would be made manifest in two terrorist factions to prevent the annexation  — the Freedom Alliance of Kornati and the Montana Independence Movement.
Eventually, the annexation was passed by the committee, and Rembrandt became a subject nation of the Star Kingdom.
The Rembrandt Trade Union (RTU) was established by Bernardus Van Dort in 1870 P.D.
The RTU was originally intended to improve the economy of Rembrandt (and allied nations) to gain a better negotiating position for Rembrandt's future in the colonization of the Talbott Cluster by the Solarian Office of Frontier Security, seen as inevitable at that time.
The RTU's chief contract negotiator, Ineka Vaandrager, in her negotiations with other worlds, used aggressive and retaliatory tactics to extract deals that were significantly more beneficial to the RTU than the worlds they negotiated with.
This gained the RTU a reputation as home to a group of exploitative profiteers, and fostered animosity among the populations of the worlds the RTU negotiated with, although this greatly enriched the nations of the RTU.
Republic of Haven: fill in entry.  
Wade and Rembrandt were able to slide to Earth Prime (though Quinn and Maggie weren't able to for three months).
Shortly after Wade and Rembrandt returned to Earth Prime, the Kromaggs took over.
Although Wade and Rembrandt shared a prison cell, they couldn't talk much because they knew the Kromaggs would be listening and perhaps playing mind games (so the person they appeared to have been speaking to may have actually been a Kromagg imposter).
Eventually, when Rembrandt wouldn't tell the Kromaggs what they want, they threatened to send Wade away to a breeder camp.
When Rembrandt still wouldn't follow their orders, Wade was sent to the breeder camp.
Although Rembrandt felt a large amount of guilt after this, Wade didn't blame him at all for what happened. 
Rembrandt was going to make a comeback on September 27, 1994 when he was going to sing the national anthem at a San Francisco Giants baseball game.
On his way to the stadium, Rembrandt was pulled into Quinn Mallory's sliding vortex along with his Cadillac.
Rembrandt was the only of the original four sliders who didn't choose to slide, and at the beginning, he strongly resented Quinn for accidentally pulling him into the vortex.
However, Quinn and Rembrandt later became good friends.
Wade and Rembrandt were able to slide to Earth Prime in 1997 or 1998.
However, the Kromaggs quickly took over that world and captured them.
The Kromaggs threatened to send Wade to a breeder camp on another world if he didn't tell them how to find Quinn, whose independent development of sliding would allow them to invade their own homeworld, Kromagg Prime.
Rembrandt couldn't tell them what he didn't know, so Wade was sent to the breeder camp.
A month after Wade was taken, Quinn and fellow slider Maggie Beckett freed Rembrandt from the Kromagg prison.
After this experience, he had strong guilty feelings towards what happened to Wade, as well as anger toward the Kromaggs.
Rembrandt is the only character who stayed in the show from the first to the last episode.
He had to see the death of Maximillian Arturo as well as deal with the fates of Wade Welles and Quinn and Colin Mallory.
In the final episode, "The Seer", Rembrandt found a biological weapon there that he intended to use against the Kromagg invaders on Earth Prime.
At the same time, a psychic (who already knew a lot about the Sliders, suggesting that the psychic's powers might be real) predicted that the next time the Sliders would slide, they would die.
Rembrandt decided to slide alone for this slide because the Kromagg sliding equipment being used was heavily damaged and would only accommodate one person.
The others believed they might have altered the future predicted by the psychic by having only Rembrandt slide instead of all four of them.
The seer died before he could answer them. 
The Three Crosses is an etching and dry point painting created by Dutch artist Rembrandt van Rijn depicting the crucifixion of Jesus Christ.
The subject is Jesus Christ on the cross, flanked by the two thieves who were crucified with him.
The Virgin Mary is depicted weaping and being supported by the Evangelist.
Roman soldiers on horseback and grieving citizens are depicted around the crosses.
Professionals have speculated that the scene might be interpreted as the moment of Christ’s death.
The sky is very dark but pierced by a beam of light that surrounds the figure of Christ, representing God’s light from heaven.
The iconography in the piece is especially intricate.
According to Paul Crenshaw of the Kemper Art Museum, Rembrandt was inspired by the text from when Christ cried out, “My God, why hast thou forsaken me?” Rembrandt drew heavily on biblical sources in his work, as well as being influenced by other Baroque contemporaries.
Rembrandt created over 300 works that were inspired by the Bible.
The piece's etching does not allow for dramatic contrasts of light and shade, known as chiaroscuro.
Rembrandt produced the work in four stages, increasing in each the effects of these contrasts.
Etching and dry point are labor-intensive processes, and one of the early forms of printmaking.
Rembrandt chose these media based primarily on the fact that he was suffering from financial difficulties all the time.
He had to sell many of his etchings in order to be able to afford to print "The Three Crosses".
Rembrandt was able to make around sixty impressions from the plate in its first three stages, the darkest shadows on the piece being done in dry point, and Christ and the lighter figures being etched.
The nature of the media meant that it was possible for Rembrandt to make continuous alterations (which he did over a ten year period), adding further etching and dry point, changing the composition of the picture and making the final image darker and more chaotic: In the last stage, the Virgin Mary has become an almost disembodied head surrounded by darkness, and the figures that originally encircled her have, in consequence, been removed, as have been some of the soldiers on horseback.
A man in a large hat (also on horseback) has been added and is believed to be a figure from Rembrandt’s "The Conspiracy of Claudius Civilis."
The most dramatic alteration is to the "heavenly light" which has become considerably darkened, especially to the right of the picture, by which Rembrandt may be making a clear distinction between the 'good' and 'bad' thieves.
Each progressive change in the work increases the focal importance of the Christ figure.
In its fourth and fifth state, Rembrandt inked the plates in a different number of ways and with different qualities of ink.
One of the prints in the fourth stage is located at the Kemper Art Museum. 
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".