How Did Rembrandt Create His Paintings

I remember viewing Portrait of Dr. Heinrich Stadelmann by Otto Dix during an eleventh grade field trip to the Art Gallery of Ontario, and being completely entranced by the painting—unable to look away from it. At the time, I was not fully aware of the world of art and did not have the vocabulary and knowledge to articulate my interest in this particular painting. Now, after returning to the painting three years later, the experience is quite different. Being recently exposed to a fairly wide range of art last semester has allowed me to experience the painting under a more knowledgeable light. During this most recent viewing of the painting I paid more notice to the painter’s decisions regarding the paint application, the textures, the colouration, the lines, the composition, etc. The core of this different experience during this viewing is due to a newfound consciousness of artistic choice.

The slave is compositionally arranged in front of the Mistress in a predominant position, however as noted in our text this week, most of the slaves placed in the foreground of a painting in this era were done so in humor, to tease or to make them look immature (Pohl 278). As the title suggests, this slave has been dressed up by her Mistress in her Mistress’s clothing as a way for the Mistress to make fun of the slave, teasing her with a taste of wealth and upper class. Cany Peale’s previous career in fancy-goods gave her the understanding of what was in fashion

Rembrandt uses oil on wood in one of his earliest self-portraits, depicting himself in a fabulous costume that includes a plumed hat, a silk scarf, and an elegant jacket complete with gold trim. There is a heavy use of shadow, concealing half of his face, with the left half being illuminated by a sole source of light located out of the frame. His face purposefully lacks an expression, as if to create an open-ended illusion of confusion. Unlike most of his works, this painting is quite large, having dimensions of 35 by 29 square inches. Although Rembrandt had already begun to attract serious attention, he had not yet received any portrait commissions by 1629, so this piece may have been created to show off his artistic abilities. This self-portrait currently resides in the Isabella Gardner Museum after it was purchased in 1896 from a private collector, Lieutenant Colonel Sawyer.8

In this selection of the book, Gitlin discusses a seventeenth-century Dutch painter by the name of Vermeer. Vermeer was known for being able to”fr[ee]ze instants, but instants that spoke of the relative constancy of the world in which his subjects lived” (Gitlin 558). People collected Vermeer’s paintings for display throughout their homes. Gitlin sees Vermeer as the seventeenth-century version of the media. In that time, the images painted were relative to the people’s era and private world. In today’s world Vermeer would be the equivalent to a celebrity photographer or movie director. If Vermeer, or any other artist of his time, were to see today’s households, they would find that the once private space inside the home is now much more dominated by images of the outside world than what would have been possible in the 1600’s.

In the book by Timothy Brook, Vermeer's Hat: The Seventeenth Century and the Dawn of the Global World, the author analysis several paintings of the Dutch painter, Johannes Vermeer. In these several paintings, Vermeer, beautifully depicts scenes from daily life. His paintings are from the Dutch Golden Age and are incredibly realistic and the way he shows light and color are strikingly gorgeous. Although Vermeer’s painting skills are developed the subject of his paintings illustrate quite simple subjects, showing middle class daily life and tasks. However, Brooks takes readers past the beautiful colors we see on the surface and digs a little deeper into each one, going in and unraveling the scene to analysis things like globalization and world trade in the 1600s.

My first reason is when the painter was asked about the painting he said and kept saying that he didn’t like it. In “2BR02B” paragraph 30, it states “The painter’s face curdled with scorn. “You think I’m proud of this doub?” This demonstrates how when the painter didn’t like the painting, and stood by his opinion.

Firstly, the passage says that the painting has a collar and it was not matching with the fact of the painting, since it was serve and the collar was really luxurious, and a serve would not be able to afford it. This would not make sense since Rembrandt was known for showing details in his paintings. In the other hands, the lecture tells us that maybe someone added it because they wanted to add more value at the painting. This painting with the collar would let it elegant.

In the essay Stilled Lives: Self-Portraiture and Self-Reflection in Seventeenth-Century Netherlandish Still-Life Painting Celeste Brusati organizes in a way that shows three different types of still lifes and how they can help identify an artist. She starts by showing the lesser of the extreme of artists who are impersonal in their works, and then goes on to show examples of those who are much more personal and more self representative in their works. What Brusati argues is that still life paintings perpetuate the social identity of the artist, and how a portrait can be a pictorial representation of them.

Firstly, the reading claims that the Austin’s family supported that the painting was James Austin. The professor opposes this point by saying that when the portrait authorized the James Austin was dead, since seventy years. The professor says that the family members have asserted that it was the Austin’s portrait, but have not seen themselves.

Rembrandt was a famous artist in the early 1700’s and late 1600’s,he was a artist who went for realism ,he made many beautiful paintings like The Jewish Bride,witch was beautiful painting that represented a rambunctious gathering with many servants and so on.In his lifetime he was able to produce 2,000 paintings 600 sketchings and a little over 50 drawings ,he fought evil by bringing out the good in difference like religion.,he also was a gifted

First of all, the reading passage contends that Rambrant paid attention for details; however, there is inconsistency in the painting. Since the women is wearing a white cap, which for servants, and a fur for luxury whereas, the professor counters this point and says that the x-ray analysis for the painting indicated that the fur was added hundreds of years on the original painting to give the painting more value

The professor in the lecture, however, has a different story. First, the recent scientific examinations come to the conclusion that this painting also comes from Rembrandt. Yes, of course, there are some errors; but, some more close inspections have revealed that the painting was modified one hundred years later after it was originally painted. Possibly,

He presents himself in costume, with a painters stick and hat. His older age is shown in his wrinkles and greying hair. Rembrandt is still showing dominance of painting with his stance and fantastical costume, as though he is a deity of painting. However, in his Self-Portrait with two Circles there is a change in how he represents himself to the viewer and the relationship he has with painting has also changed. There is more light showing his grey hair and the extravagance of his clothes and jewelry has diminished. Although, he is still wearing a gold chain it is not given the same attention as his chains in his earlier portraits. He is wearing a basic painters hat and smock with brushes and palette in his left hand. His identity has moved from master to servant of the art of painting. Rembrandt is no longer hiding behind shadow and objects. I think that Rembrandt had always tried to paint his relationship with painting but in this last self portrait he is able to surrender to his ego as an artist. He goal was to simply paint himself, similarly to The Artist in His Studio. This work satisfies his inner need to represent himself and the act of painting. He has been able to do that without creating a tailored and exaggerated

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink

Rembrandt Harmezoon van Rijn was a 17th century painter and draftsman whose work came to dominate what has since been named the Dutch Golden Age. A standout amongst the most respected painters ever, Rembrandt's most noteworthy imaginative triumphs are found in his depictions of his counterparts, illustrations of scriptural scenes, and self-portraits, as well as inventive etchings and amazing use of shadow and light. Born in Leiden 1606, Rembrandt Harmenszoon van Rijn went to primary school from 1612 to 1616 and afterward went to the Latin School in Leiden, where he shared in scriptural studies and lessons on works of art. In the 1660 painting "Self Portrait," Rembrandt makes a very intimate depiction of himself, devoid of flattery. Unlike