Art 102 Fall 2013 Rembrandt Lecture. Rembrandt Left a record of his life in self-portraits Is a Protestant—his paintings show a Protestant sensibility.

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Presentation transcript:

Art 102 Fall 2013 Rembrandt Lecture

Rembrandt Left a record of his life in self-portraits Is a Protestant—his paintings show a Protestant sensibility in that they are never theatrical His art provides penetrating examinations of the human soul

Rembrandt Self-Portrait 1629

Expressive shadowing around the eyes Paint is applied thickly, so that Rembrandt is clearly interested in the Materiality of paint

Rembrandt Jan six 1654

Rembrandt Reconciliation of David and Absalom 1642

Rembrandt Homer Dictating To a Clerk 1663

Interested in depicting figures who lack sight

Rembrandt Old Woman 1631

Frequently paints images of books And reading But this book is not legible, showing Rembrandt’s iconoclastic tendencies

Gerrit Dou Rembrandt's Mother 1630's

Here the text is recognizable as the Gospel of Luke

Rembrandt Portrait of Saskia 1634

Rembrandt paints two kinds of Portraits, either sitters in contemporary Costumes, sometimes as historical, Mythological, or religious figures Noted for the intimacy of his portraits

Rembrandt A Turk

One of a number of paintings of people in Exotic costumes Reflects a widespread interest in Eastern culture

Rembrandt Self-Portrait 1650

Rembrandt. Self-Portrait 1638 Represents himself in 16 th century dress

Rembrandt Self-Portrait 1659

Figure is composed of rough brushstrokes

Rembrandt Self-Portrait 1658

Rembrandt. Self-portrait in Painter’s Costume

Presented as a working artist, Holding tools of his trade Circles may represent artistic skill

Rembrandt A Girl with a Broom 1651

Portraiture combined with genre painting

Rembrandt An Old Man Sleeping 1629

Frequently painted old age, because It shows human qualities Interested in beauty hidden in Ugliness and virtue shown in the body Fascinated with good and evil qualities In human beings Shows inner beauty rather than classical Beauty Uses chiaroscuro and shadows, but not Rigid distinction between light and dark As in Caravaggio

Rembrandt The Rape of Proserpina 1633 Refused to copy the Italian Tradition Exoticism present even in Classical subject matter

Rembrandt and His Wife Saskia 1634 Double portrait, shows sitters in Joyousness that will later disappear Shows Rembrandt’s interest in Costumes Saskia is Rembrandt’s favorite model

Rembrandt The Anatomy Lesson of Dr. Tulp 1632

Group portrait commissioned by the Guild of Surgeons Group portraits were popular at this time Composition is activated by using strong diagonals and light

Rembrandt Night Watch 1642 Painting is misnamed due to the darkening of varnish over time—is not intended to be a Night scene Figures are grouped dynamically, giving a sense that something is about to happen

Rembrandt Return of the Prodigal Son 1665

Religious imagery is generally Frowned upon in Protestantism, but Rembrandt makes a few religious Paintings. Unlike opulent Italian Baroque images, More interested in showing a range of Human emotions, revealing Rembrant’s Tendency to represent the human soul

Rembrandt Christ with the Sick Around Him c One of Rembrandt’s many etchings Known as the Hundred-Guilder Print