Rembrandt Self Portrait Analysis

Photographs have been circling the world for years now . There are many different types of cameras, but only some have changed and revolutionized the world. The history behind them and the history it has captured throughout the years has impacted the world in numerous ways. It is very important to know how certain things like lighting and angle affect the outcome of photographs. To be able to capture a perfect photograph one will have to understand how lighting , angle , third rule affect a photograph. Not only are there different types of ways to take photographs but different types of photography.

As mankind rapidly evolved recording events became harder. Early history is only able to be pictured with using our imagination. Often times historians often clash about what the world looked like. Ancient civilizations from the Mayans and Aztecs have never been seen while they were in their pristine condition. The world is left with written descriptions and ruins not only of the cities themselves, but also the tools used. After the camera was invented in the early 1800s, events were more frequently recorded and it was clear what tools and cities looked like before modern-day. Photography has undoubtedly altered how we document events, created new job openings, and will give generations to come amazing art and show defining moments from each generation. Photography has helped evolve the world by creating new jobs and revolutionizing how events are documented.

There is no truer adaptation of a Baroque painting than this. During this time there were great revelations of science which catapulted further interest in the sciences. The Anatomy Lesson of Dr. Tulp portrays a scientific discovery. As Dr. Beth Harris points out and as seen in Fig. 3, Dr. Tulp’s left hand is moving in a way that would show how the tendons of the dissected hand would work (Smarthistory, 2015). Additionally, Baroque period artists often sought realism in portraits, with an attention to physical details, and a focus on the dramatic including the contrast between light and shadow and the use of rich, deep colors (MindEdge 2.01). A real test of its time, this portrait is almost photo-like in its adaption of realism and the physical detail exemplified through the facial expressions of the onlookers. Furthermore, Rembrandt sought to emphasize the action depicted in this portrait through by almost illuminating the corpse

Perhaps the most technically impressive aspect of the painting is its remarkable three-dimensionality. Rembrandt is well known for his strikingly accurate portrayal of human shape and form, and this painting lives up to such reputation. With the use of oil paint, he was able to carefully and selectively layer color to create an astonishing representation of the human figure. The most alluring aspect of the piece, in terms of modeling technique, is the face. It contains so much detail; it is hard to believe this painting was done by hand. From the light, wispy texture of the facial hair to the subtle wrinkles surrounding the eyes, attention to detail is what sets this portrait far above many others. Rembrandt’s playful chiaroscuro on the nose and right hand truly give the piece a sense of depth, and the painterly quality of the piece produces a soft and elegant look. Also present within the face is the famous Rembrandt triangle. The result of a specific lighting technique frequently used by Rembrandt, a small triangle is formed underneath the eyes. It is present under the left eye in Marten’s portrait, which gives his face a more natural look. Another technique that intensifies the three-dimensionality of the visible body parts is the use of

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

Deemed to be one his most famous compositions, Johannes Vermeer, using oil on canvas, created The Allegory of Painting in 1666. A standout piece of Seventeenth Century, this still life representation of a painter in his studio depicts some of the best naturalistic qualities of this era. His usage of light, space, color, and symbolism blends harmoniously to create the perfect illusion. In the foreground we see the painter himself, seated on a wooden stool and dressed in ravishing garments not necessarily suited for this time period. However, his outfit is still thought to be characteristic of a painter. The symbolism behind this atypical attire is unclear, however, perhaps Vermeer chose this style dress as a means to sustain a consistent theme of lavish across the piece. The elegance in the marble flooring, chandelier, and intricate drapery all contribute to this theme.

The photograph is a very powerful medium. The French painter Paul Delaroche exclaimed upon seeing an early photograph “from now on, painting is dead!” (Sayre, 2000). Many critics did not take photography seriously as a legitimate art form until the 20th century. With the

on his painting. Sandros paintings had a sad feeling to them. He ‘’stressed’’ line and

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.

After travelling and getting support on painting by other artists and learning Impressionist art styles and ideals, Van Gogh started to paint the natural world. From 1886 to 1889, Van Gogh painted himself 43 times. After severing a part of his left ear during a mental breakdown, Van Gogh started to paint himself from the right instead of the left. Near the end of his life, Van Gogh’s mental health started to degrade further and was admitted to an asylum. His later works include portraits, a series of cypresses, a series of flowering orchards, a series of flowers, and a series of wheat fields. In June 1889, while in an Asylum at Saint-Remy, Van Gogh painted what is regarded as his finest work of art, The Starry

The introduction of oil painting was one thing that made it easier for long lasting works to exist outside of a church or architectural setting. Today we do not have whatever quantity exists prior to oil because works that were not on the wall of a church would decay over time. Nuremberg painter Albrecht Dürer produced this 1500 self portrait among many for other individuals as well. The work is as much a picture to portray himself as it is a display of his artistic ability. He signs it it at eye level writing explicitly that he painted this of himself at age 28. Dürer is facing straight out from the painting at the viewer directly, as if he was speaking what the text said. The text also declares that he painted himself in “appropriate colors”, indicating he very specifically intended to fabricate a real life perspective of his appearance. Color, tone, and fine details are used to portray realistic and specific details. The skin and facial features are extremely life-like, and the portrait does not portray him specifically as an artist, which probably necessitates the explicit statement in text.

Rembrandt was also an artist who wished to depict art in a new manner. He is known for being a fashionable portrait painter. In paintings such as Bathsheba, Rembrandt uses classical ideas and studies from nature to achieve balance. He perceived old images in a new light, transforming them into "the light of human experience" (Cunningham and Reich 183). He used contrast between light and darkness, and rich textures in order to create depth and enhance the emotional power of the portrait. Just as Caravaggio did, Rembrandt created a path in art and others followed.

Each artist is an individual with a unique style, and although these styles can be similar in practice – the individuality of the artist often proves the discriminating factor for a successful artwork. Self-portraits are beneficial when looking at the individuality of the artist as there are two aspects to look at – the artist’s style, and the artist’s view of him/herself. The latter can provide a brief insight into the mental situation of the artist as well as any apparent influencing factors of the artwork. This view can often also include fragmental insights into the society and culture of the time. Rembrandt van Rijn and Vincent van Gogh are 2 artists of whom are well represented by this statement.

Since its inception, photography has been used to capture moments in time all around the world. This wonderful technology has existed since ancient times, and has only improved in recent history, changing society in the process.

In the last decade computer technology has been introduced to photography yet again challenging the meaning