The scenes, some smaller in size than recipe cards, are "more than just illustrations of Bible stories," Davis said. "He brings his feelings and his understanding of people into them. He did it mostly because of an inner need, not because he was commissioned" to create them.

Rembrandt was obviously a serious student of the Bible, he said, noting that though he acquired great fame, wealth and possessions earlier in his lifetime, by the time he reached his 40s he had to auction off most of what he owned to meet his rising debts. When he died in 1669, an inventory of his few possessions included only one book — his well-worn Dutch Bible.

Born in the Dutch town of Leiden on July 15, 1606, he eschewed his father's entreaties to learn a profession and left the University of Leiden to study painting. He quickly established a reputation for quality and began teaching. By 1631, his studio in Leiden was flourishing, and he moved to Amsterdam, where he became the leading portrait artist in Holland. Commissions were frequent, and his reputation continued to grow.

He married Saski van Uylenburgh in 1634, and they had four children, three of whom died in infancy, followed by the death of his wife in 1642. After her death, "he developed a new style based on the content of the religious texts he increasingly turned to," Davis said. "He curtailed artistic display for its own sake and included only what was important in expressing the story. Rembrandt turned away from glorifying individuals to reveal the power of humility and simplicity. Portraying truth now became his primary objective. "

Though his body of work included 600 paintings and 1,400 drawings, it was Rembrandt's etchings that some art historians say were most popular during his lifetime, probably because many were affordable to Dutchmen of more modest means, Davis said. The medium of etching copper plates also allowed the artist to make several prints, and then rework the plate itself — often several times — to add detail if desired.

Avoiding the more idealized depictions by Italian artists influenced heavily by Catholic iconography, Rembrandt favored realistic personal portrayals, Davis said, adding he was able to capture "the right moment in time, with an empathy for those being portrayed."

Unlike most exhibitions at the museum, which focuses almost entirely on LDS art and history, organizers were looking to broaden the appeal for potential audiences with a display that is of interest not only to Christians and Jews but to art lovers. Curators have incorporated elements of a 17th-century salon reminiscent of some of the world's finest galleries for the current exhibit, he said, including rich carpets, Delft tile, art glass windows and a Rembrandt Bible.