The, Portrait Of Dirck Building, Floor 3 And Find The Following Paintings By Rembrandt And Jan Lievens
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B. Go to LACMA (Ahmanson Building, floor 3) and find the following paintings by Rembrandt and Jan Lievens.
1. Rembrandt, Portrait of Dirck Jansz. Pesser
2. Jan Lievens, A Philosopher
In Rembrandt’s painting, Portrait of Dirck Jansz. Pesser the subject is in formal wear. He is wearing a fashionable white collar and black wide brimmed hat. His is also wearing a black jacket that is high quality. In contrast Jan Lievens, A Philosopher is dressed casually in a navy blue cap and off white or almost yellow frock with pink underneath. The materiality of the clothes seems thinner and less constraining than that of Rembrandt’s portrait. The only subject that has iconographical attributes between Rembrandt and Lievens is Lievens, A…show more content… The function and materiality of paint is emphasized when it can be identified on a painting. There are other differences between the painters portraits. Rembrandt creates a more distinct separation between subject and background, while Lievens blurs his subject to the environment. Rembrandt makes clear color distinctions with clean brushstrokes to show the separation between the subject and its background. Lievens however, smudges the edge of the face to the background and uses similar colors. The zone of transition between the subject and the background are blurred and start to dissolve into each other. Lievens brushstrokes are not as careful or clean as Rembrandt 's. Rembrandt and Lievens take different approaches to depicting the forehead and brow of their subjects. Rembrandt takes a realistic approach while Lieven takes an expressive approach. Rembrandt’s representation is thought out and smooth. He would have used mostly wet paint to create the flat surface and various brushes to separate the colors. He must of added thin and light layers to create a uniform look. In contrast Lievens uses thick and alternating thick and thin layers of paint. A brushstroke is used to articulate a physical attribute to the face.There is mixing of paint by adding a thick layer of paint over a still wet layer.Lievens does not try to create a seamless transition between brushstrokes like Rembrandt. Lievens is more free flowing and liberal in his approach to