Rembrandt reproduction paintings

Rembrandt reproduction paintings

Rembrandt 's style seems to have been conveyed to those who write about him. In Rembrandt 's literature, the artist soaks up all the light ... And all the other people in his life are shadows behind which we are told nothing more than their name and function. "-Gary Schwartz, 1985.

Rembrandt's unanswered questions are daunting because his legacy is both exalted and divisive at the same time. While this makes Rembrandt 's thought fascinating for art historians, it makes writing about him difficult, as Schwartz, who is quoted above, suggests.

Schwartz himself brought the artist to the fore by looking at the social dynamics of the society in which he lived, reviewing the history of his associates, colleagues, teachers, and clients, and also searching for evidence that was missing: "No one has ever asked Rembrandt to be their child's godfather, or even to witness a text for them," Schwartz writes. Arrogant to those who respected him. "Schwartz is apologetic for thereby characterizing an artist who is renowned for the wisdom with which he portrayed men and women, a sensitivity that inevitably leads his admirers to believe that he must have been of good character." It would hurt me if the reader thought that I portrayed Rembrandt 's picture too dark, leaving out proof of his humanity, "Schwartz wr. If anything I spared him even worse, such as the evidence that he robbed some of his daughter's savings, Cornelia, half of which is his son Titus' widow."

Complicating doubts about the artist ' s integrity is the work of the Rembrandt Research Project (RRP), a team of Dutch art scholars that has been examining the entire known body of his work since 1968. The constantly expanding and contracting number of paintings attributed to him once reached nearly 1,000. Informed estimates now put the number closer to 300. Even one of "his" best-loved paintings, the Polish Rider (1655), was thrown into doubt for several years (see DROST). While such information is bound to disappoint those who romanticize his art as the work of a single, inspired genius, it is not disconcerting to the scholar Svetlana Alpers. She believes that Rembrandt succeeded in his goals, which were "mastery in the studio and the establishment of value in the marketplace." Students worked with him throughout his career; names of more than 50 were recorded. He wished to be free from catering to individual patrons and chose to sell the works from his large studio on the open market.

His art became, mutatis mutandis, a commodity-a concept that troubles some historians even more than does de-attribution. Regardless of his motives or success, Rembrandt, who spent lavishly on his house as well as his collections of art and other objects, fell deeply in debt, especially with creditors to whom he owed paintings. At one point, he had to declare bankruptcy. However fluctuating Rembrandt's reputation, the characteristics of "a Rembrandt" are unmistakable. Conventions of the BAROQUE are recognizable: significant contrasts of light and shadow, movement and drama; not the energetic drama of his contemporary RUBENS, but a more introspective, silent drama. In fact theatrics was a particular interest; Rembrandt was a great collector of costumes and other paraphernalia, from gold chains to brass helmets that he used as props in his paintings.His use of his medium was also theatrical-Rembrandt applied paint thickly, so that it embodied texture (sometimes it was even sculptural) and imparted meaning in and of itself.

His use of the medium to expressive effect was increased by the perpetual reworking of his paintings and ETCHINGS. Best known among his etchings is the Hundred Guilder Print (c. 1648), the subject of which is Christ healing the sick. The title alludes to the high price allegedly paid soon after the work was made. It exemplifies Rembrandt's magisterial handling of light and shadow, awe and spirituality, even in black and white.

His wide-ranging subjects include lively group portraits (Syndics of the Clothmakers' Guild, 1662; see GAZE), moving biblical subjects (Prodigal Son, c.1665), pictures of his family (Titus at His Desk, 1655), and an extraordinary sequence of self-portraits, in a variety of costumes, that map his physiognomy and record his various self-images, orrole-playing.

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