Along with the rise of the urban merchant (burgher) class, who grew rich thanks the commerce during the Dutch Golden Age, the desire to possess a work of art spread to large sections of the society and a growing art market emerged in the Netherlands. To meet this demand, the artist studios (schilderkamer), where an intense activity of creative production took place, emerge as an important research area for 17th century Dutch Art researchers. In addition to the socio-economic picture revealed by the information obtained from primary sources such as guild records, artist biographies and inventory records, the studio reached also to the painter's canvas, crossing the boundaries of the physical space where the artwork was produced. With the effect of the increasing competition among the artists, the “Artist in the Studio” depictions, which satisfy the need to exhibit an original and competent artist identity, were transformed into a genre in the 17th century Dutch painting and adopted as a theme on its own by the painters. In the 17th century, Amsterdam, being the most urban populated city throughout the Netherlands, possessed economic opportunities and international connections, which became a prime location for young artists. Rembrandt, who after his first studio attempt in his hometown Leiden, moved to Amsterdam in 1639, to the upcoming area St.Antoniesbreestraat where he purchased a property and resided until his bankruptcy in 1656, during which he spent his most successful years as an artist as he converted his home into a working studio. Early in his career, Rembrandt gained a reputation for attracting an array of artists who completed their education but who wanted to gain experience as an apprentice in the presence of a prestigious master. As well as Rembrandt's authentic style, the untraditional studio methods that he used as a master also had a role in his success. Considering his studio as an equivalent to Italy experience which took a part in the last step of young artist’s training as an extent of Grand Tour tradition, instead of copying the Renaissance masters’ works; preparing his own teaching materials, creating cubicles in his house for his pupils to work in solitude can be said to be amongst the features of 78 this model. Among these, the technique that Svetlana Alpers regarded as a non-pioneer approach and called narrative drawing also stands out. What was aimed through this technique, which asserted that the scenes from the Bible were reenacted by pupils as theatrical performance in order to transfer the gestures and mimics of the figures from the scenes onto the canvas in a pictorially appropriate way. This paper, in which the common functioning of the studio and unique dynamics of Rembrandt's studio in its era will be considered, aims to focus on The Amsterdam studio, which ensamples a powerful intersection of art and life, through biographical records from the artist’s life.