Spring is here, and in the southern hemisphere, Fall had just arrived. So to celebrate the gentler seasons, we thought of the great Rembrandt’s numerous self-portraits, from youth, to middle age, to old age. Also included are some of his best portraits of others! Join us in learning from one of the first innovators and masters in art history!

Rembrandt van Rijn’s use of light and shade (chiaroscuro) to create atmosphere in his works was very new in his day. His exploration of the psychological character of his subject(s) was also new then. His self-portraits are full of emotion and expressive. He was his own best model!

His early works are sharply drawn and painted in a varied palette that was to decrease in range and in his growing interest in chiaroscuro. Between 1640 and 1660, his middle period, he had developed a darker style with color applied in thick blobs, quick lines or dabs, and thinner washes that merge into a harmonious glow, bursting from a dark background to create rich, shimmering, and uneven surface effect. After 1660, his technique became even freer, possessing a jewel-like richness of color, and expressing intense emotion. Rembrandt was a superb draftsman and throughout his life produced drawings and copperplate etchings that are magical in line and feeling.

“Self-portrait with a cap open-mouthed”:

His paintings are characterized by broad thick brush strokes and the use of layers of glazes to provide scenes with depth. Despite the existence of some alla prima sketches on panels, Rembrandt’s preferred painting surface was a gray-toned canvas. The canvas is better suited for paintings carried out over several sittings, and the majority of Rembrandt’s works were executed in this manner. Rembrandt first blocked in the composition in broad brush strokes, then built up paint layers, working from dark to light. The heavy use of impasto (areas of thickly-applied paint) lent him spontaneity and immediacy. In some areas the rough textures look as if they have been applied with a palette knife rather than a brush, while some of the fine lines of the hair have been etched into the paint by the artist’s brush-handle. That “etched” technique is called sgraffito.

“Portrait of the Artist at his Easel”:

Rembrandt’s paintings are characterized by luxuriant brushwork, rich color, and a mastery of chiaroscuro: using strong lights and heavy shadows to create depth in a painting and a center of interest. He used a brown ground so that his paintings would emerge from the dark to light. His use of impasto in the light areas grew heavier and heavier, while his shadows became increasingly transparent. Rembrandt used it to emphasize the faces and hands in his portraits; what his subjects were wearing and their setting are of less importance, melding into a dark background.

The primer for the panels is white, probably glue-chalk gesso, covered with a transparent brown imprimatura of Burnt Umber mixed with varnish, which creates the golden glow characteristic of his work. His canvases are primed with a warm grey made from lootwit (lead white with chalk, ground in linseed oil) and Raw Umber, or sometimes with white lead alone, with a transparent brown imprimatur. His palette consisted of 1) Flake white 2) Yellow ochre 3) Red ochre 4) Charcoal black 5) sienna’s and 6) umbers.

I would recommend, for a modern palette, in order of painting from darks: Burnt Umber as a ground first, then Mars Black (or Ivory if that’s the only black you have) for the deepest values. (If you don’t use black a good substitute can be made with Prussian Blue by mixing it with Transparent Red Oxide and Raw Umber.) The Red Ochre is modern also, but you could use your choice of Flesh Ochre, Burnt Sienna, or Caput Mortuum for the darker flesh tones. Yellow Ochre, Flake White for transparency and Titanium White for opacity. Raw Sienna and Raw umber are also good additions. I know I added stuff, but it’s still a limited palette!

Here are some of his finest works, and let me also direct you to the ARC website: http://www.artrenewal.org/ All you need to do is type in “Rembrandt,” and you can see many more images, and also decide upon another if none of these suit you. When you find one you want, click the image shown and it will show you a larger image you can download to your computer.

First, let’s look at his self-portraits; you’ve already seen two, and here are some more:

“Self-portrait at an Early Age”:

“Self-portrait”:

Nancy http://nancyparkfineart.com
All human beings are dream beings. Dreaming ties all mankind together. - Jack Kerouac