Analyzing Rembrandt's Paintings

In response, the colors draw the viewer to look around at the other figures due to the red and yellow’s intensity. On the other hand, blue is only used for Mary which symbolizes that she is the main focus of this painting. In addition to Mary as the primary subject, she is painted in great detail with her figure highlighted more than others. As the viewer looks gazes away from the center of the painting, other figures become less saturated. For example, the donkey to the right of Mary and the other figures in the top left corner are depicted as insignificant since their clothing is not pure compared to the figures with halos above their head.

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

This painting represents the love of an woman towards her husband. Wife was pleading her husband not to go at war because she care about husband’s life. Which show that female women at that age till now cares about their husband.

This series is immensely personal for not only Rothko, but also for the viewer. These murals explore identity as these paintings are an exploration of raw emotion felt by such a deeply depressed man who committed suicide in 1970. These paintings can be seen as a discovery of Rothko’s self and also a form of emotional release due to the unsettling colours he has adopted (black on maroon and dark red on maroon); these paintings are a clear reflection of emotional instability. According to Rothko, these paintings were “concerned with the most profound questions of existence.” That statement could possibly mean that he was thinking about his mortality at this time as he had been suffering from depression and had also been diagnosed with a mild

Concerning color, there is a stark contrast between the figure on the painting and the background. More specifically, the figure of the woman is predominantly delineated in white color, especially pale, ashen white, as far her apparel and facial complexion are concerned, while there are also various hues of grey, with respect to her hair and accessory feather. These white and grey shades are vividly contrasted with the prevailing red and crimson hues of the background (viz. the drape, armchair, and table). Moreover, one can detect colors of dark green (jewelry), some beige on the left (pillar), and darker or lighter shades of blue on the right side of the canvas (sky), which all in concert and in addition to the subtle purple hue forming the sun or moon exude a certain dramatic sentiment. Also, there is brown, which often easily segues into gold (viz. books and attire details respectively). The main contrast of colors between white and red would be interpreted as serving the purpose of rendering the figure of the woman, and especially her face, the focal point of the work, despite, paradoxically enough, the lush red shades at the background. Bearing that in mind, the significance of the woman’s face will be enlarged upon later, when discussing aspects of her identity.

The use of color is very important in this piece as it is one of the formal features that has been used the most and strikes the viewer upon seeing the work of art for the first time. At first glance, it seems as if the color has been randomly placed in the

First of all, the author says that the dressing of the women is not going with each other. He claims that the white linen cap is for poor servants, while the fur collar is prestigious. Furthermore, Rembrandt was known as careful in choosing the clothes. This point is challenged by the lecturer. She believes that the fur color was not part of the original painting. She puts forth the idea that the color was added after the painting was made in order to increase its value.

With the most brilliant color in the painting being her face and the bleakest tones being among her clothing one can’t help but having their eyes drawn to her. By utilizing numerous elements Leighton created a painting in which the primary emphasis was placed upon the subject May Sartoris. Upon viewing

The feel of the picture lends to emotions of unease and recognition of sexual innuendo. The colors of the painting are vibrant, but for the most part are dark. The heavy tones and shades of the colors are well balanced throughout the piece. It can be noted that the brightest shades of color are found on areas depicting the actual woman. In areas that are understood as landscape, the colors are more dreary and create a sense of instability. Even Hess observes that the

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

The first point made in the reading passage is that the painting shows inconsistency in the dress of woman, which would have not been for the painting of Rembrandt. The lecturer, however, challenges this particular view point by arguing that the painting was done by Rembrandt and someone added fur on the original one after few hundreds of years later. She further indicates that additional coloring of the dark fur collar was painted by someone who wanted to increase value of

The reading claims that the portrait called 'Elderly Woman in a White Bonnet' was not painted by Rembrandt. However, the professor explains why a panel of experts has concluded that the painting was indeed created by the famous artist and, hence, casts doubt on the conclusion of the reading.

Rembrandt was a great artist and a man of many talents; he could draw, etch and paint many different genres transitioning between them with great ease. He also suffered many hardships in his life, the death of all his children and his wives who perished before he did, as well as going financially bankrupt. Despite hard times, Rembrandt kept doing what he loved and used those experiences to explore the inner psychology of his subjects. The Wedding Feast of Samson and The Conspiracy of the Batavians Under Claudius Civilis were painted numerous years apart and are a reflection of what the artist was going through.

The shapes of the figures are sharply defined and the objects such as the table, book, and string instruments. There are diagonal rhythms throughout the painting in which it creates movement. The light source in the upper left allows the source light to have a more natural appearance throughout the painting. The shadows at the right-hand corner and the men wearing green in the middle contrast the main object with the most sources of lighting. The objects shadows and lighting create dimension and a vivid sense of more contrast. There are areas in the making with more contrast and the sharp contrast that creates movement in the painting. The shadows and the lighting throughout the painting show gradations and the highlights create more depth. Staring from the upper-left hand corner with the first figure of a gentleman wearing a hue of blue and yellow, the left side of his face and garment shows the source light in right above him. The source light above the

The idea of this piece is to show the connection between mother and daughter being painted. It shows the time and the classic style of the