Rembrandt van Rijn: A collection of 102 sketches (HD)

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How Rembrandt Made His Etchings

Alexander Massouras demonstrates how the techniques behind some of history’s greatest prints remain unchanged — almost 400 years on Renowned for his work in the medium, Rembrandt came to be recognised as one of the most accomplished printmakers of all time, producing works in intricate detail. ‘The lines follow the contours of what he depicts,’ comments Massouras, citing the individually-rendered hairs on a work such as Old Bearded Man Looking Down. ‘That detail is facilitated by etching.’ Read more at http://www.christies.com/features/Alexander-Massouras-demonstrates-how-Rembrandt-made-his-greatest-works-7517-3.aspx

Rembrandt van Rijn: A collection of 546 paintings (HD)

Rembrandt van Rijn: A collection of 546 paintings (HD) Description: "Rembrandt van Rijn, in full Rembrandt Harmenszoon van Rijn, Rembrandt originally spelled Rembrant (born July 15, 1606, Leiden, Netherlands—died October 4, 1669, Amsterdam) Dutch Baroque painter and printmaker, one of the greatest storytellers in the history of art, possessing an exceptional ability to render people in their various moods and dramatic guises. Rembrandt is also known as a painter of light and shade and as an artist who favoured an uncompromising realism that would lead some critics to claim that he preferred ugliness to beauty. Early in his career and for some time, Rembrandt painted mainly portraits. Although he continued to paint—and etch and, occasionally, draw—portraits throughout his career, he did so less frequently over time. Roughly one-tenth of his painted and etched oeuvre consists of studies of his own face as well as more-formal self-portraits, a fact that has led to much speculation. The core of Rembrandt’s oeuvre, however, consists of biblical and—to a much lesser extent—historical, mythological, and allegorical “history pieces,” all of which he painted, etched, or sketched in pen and ink or chalk. Seen over his whole career, the changes in Rembrandt’s style are remarkable. His approach to composition and his rendering of space and light—like his handling of contour, form, and colour, his brushwork, and (in his drawings and etchings) his treatment of line and tone—are subject to gradual (or sometimes abrupt) transformation, even within a single work. The painting known as Night Watch (1640/42) was clearly a turning point in his stylistic development. These changes are not the result of an involuntary evolution; rather they should be seen as documenting a conscious search in pictorial and narrative respects, sometimes in discussion, as it were, with his great predecessors. Rembrandt quickly achieved renown among Dutch art lovers and an art-buying public for his history paintings and etchings, as well as his portraits and self-portraits. His unusual etchings brought him international fame during his lifetime, and his drawings, which in fact were done as practice exercises or as studies for other works, were also collected by contemporary art lovers. According to the myth that evolved after his death, Rembrandt died poor and misunderstood. It is true that by the end of his life his realism had been supplanted by Classicism and had become unfashionable in Holland. Nevertheless, his international reputation among connoisseurs and collectors only continued to rise. Certain artists in 18th-century Germany and Venice even adopted his style. He was venerated during the Romantic era and was considered a forerunner of the Romantic movement; from that point he was regarded as one of the greatest figures in art history. In the Netherlands itself, his fortunes have once again risen, and he has become a symbol of both greatness and Dutch-ness." Feel free to subscribe!

Raphael: A collection of 65 sketches & etchings (HD)

Raphael: A collection of 65 sketches & etchings (HD) Description: "Raphael, born Raffaello Sanzio, was crowned the "Prince of Painters" by Giorgio Vasari, a sixteenth-century biographer of artists. From his father, Raphael learned painting; in his native Urbino, he experienced intellectual court life. A year after his father's sudden death, Raphael entered the workshop of Urbino's leading painter at age twelve and quickly surpassed his master. By the age of twenty-one, Raphael had moved to Florence, where he embraced the works of Michelangelo and Leonardo da Vinci. In Florence, his many paintings of the Madonna and Child display his characteristic human warmth, serenity, and sublimely perfect figures. Raphael's art epitomized the High Renaissance qualities of harmony and ideal beauty. In four years Raphael's fame led to a summons to Rome from Pope Julius II. As painter to the papal court, his work met with high praise, and he established himself as the most favored artist in Rome. He was commissioned to paint portraits, devotional subjects, and the Pope's private rooms; he also designed tapestries. Raphael was soon placed in charge of all papal projects involving architecture, paintings, decoration, and the preservation of antiquities. His untimely death at the age of thirty-seven, Vasari said, "plunged into grief the entire papal court"; the Pope, who "wept bitterly when he died, had intended making him a Cardinal." " Feel free to subscribe!

REMBRANDT - Master of Light & Shadow

Rembrandt, Self-Portrait

Rembrandt van Rijn, Self-Portrait, 1659, oil on canvas, 84.5 x 66 cm (National Gallery of Art) Speakers: Dr. Steven Zucker & Dr. Beth Harris. Created by Beth Harris and Steven Zucker.

Rembrandt van Rijn: A collection of 102 sketches (HD)

Description: "Rembrandt van Rijn, in full Rembrandt Harmenszoon van Rijn, Rembrandt originally spelled Rembrant (born July 15, 1606, Leiden, Netherlands—died October 4, 1669, Amsterdam) Dutch Baroque painter and printmaker, one of the greatest storytellers in the history of art, possessing an exceptional ability to render people in their various moods and dramatic guises. Rembrandt is also known as a painter of light and shade and as an artist who favoured an uncompromising realism that would lead some critics to claim that he preferred ugliness to beauty.

Early in his career and for some time, Rembrandt painted mainly portraits. Although he continued to paint—and etch and, occasionally, draw—portraits throughout his career, he did so less frequently over time. Roughly one-tenth of his painted and etched oeuvre consists of studies of his own face as well as more-formal self-portraits, a fact that has led to much speculation.

The core of Rembrandt’s oeuvre, however, consists of biblical and—to a much lesser extent—historical, mythological, and allegorical “history pieces,” all of which he painted, etched, or sketched in pen and ink or chalk. Seen over his whole career, the changes in Rembrandt’s style are remarkable. His approach to composition and his rendering of space and light—like his handling of contour, form, and colour, his brushwork, and (in his drawings and etchings) his treatment of line and tone—are subject to gradual (or sometimes abrupt) transformation, even within a single work. The painting known as Night Watch (1640/42) was clearly a turning point in his stylistic development. These changes are not the result of an involuntary evolution; rather they should be seen as documenting a conscious search in pictorial and narrative respects, sometimes in discussion, as it were, with his great predecessors.

Rembrandt quickly achieved renown among Dutch art lovers and an art-buying public for his history paintings and etchings, as well as his portraits and self-portraits. His unusual etchings brought him international fame during his lifetime, and his drawings, which in fact were done as practice exercises or as studies for other works, were also collected by contemporary art lovers.

According to the myth that evolved after his death, Rembrandt died poor and misunderstood. It is true that by the end of his life his realism had been supplanted by Classicism and had become unfashionable in Holland. Nevertheless, his international reputation among connoisseurs and collectors only continued to rise. Certain artists in 18th-century Germany and Venice even adopted his style. He was venerated during the Romantic era and was considered a forerunner of the Romantic movement; from that point he was regarded as one of the greatest figures in art history. In the Netherlands itself, his fortunes have once again risen, and he has become a symbol of both greatness and Dutch-ness."

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