Rembrandt
In the book Rembrandt with 40 colour plates by Christopher Brown I found a section on how the artist creates his paintings.
Rembrandt's technique changes over time, which reflects the changes to his presentation of historical subjects.
"In the earliest pictures the paint is applied in a thin and sparing manner with details occasionally scrapped into the wet paint with the end of the brush. Later the paint becomes increasingly thick, laid on with a loaded brush, as detail becomes less important."
In even later years he was known to even use a pallet knife and his fingers as detail becomes less important to him. "The increasing freedom of his brushwork in his late paintings is paralleled in his drawings and etchings."
-Page 5
I studied Rembrandt too look at his use of light as his use of chiaroscuro is one of the best I've seen.
1. The Prophet Jeremiah Mourning over the Destruction of Jerusalem. 1630 22 3/4 x18 "
This is an example of spot light in outside conditions. I say this because of the way the light, however specific it is, still diffuses over the body of Jeremiah.
(Brown P7)
There is also a bright reflection coming from the gold metal by his side and the detail in the clothing is intensified with the light reflection.
The light comes from the left direction spread over his body and gown. The shadows are then accentuated.
This light is acting this way as it seems to be coming from the burning "Jerusalem?" behind him. As he prophesied: And (he) burned the house of the lord, and the king's house; and all the houses of Jerusalem, and the houses of the great men burned with fire" Jeremiah (52,13)
All this is interesting as it draws in eye into what's important, being Jeremiah and his expression, along with the lighting, putting across the feel intended.
2. The Presentation of Jesus in the Temple 1631 24 x 19 "
This piece is set in the temple and therefore light is more specific, coming in from the window solely.
(Brown P9)
This creates a sharper spotlight than the previous painting, focusing on Jesus and the surrounding people.
This light falls on the back on the hold figures back, completely covering his face which is a classic technique Rembrandt often used.
This is a technique I would use if I needed a significant area of my sculpt more noticeable with more of a visual impact.
St Luke (2:25 - 30) quote inspired
4. Christ in the Storm on the Sea of Galilee 1633 63 x 50 "
This piece has reflection of the sea coming from the opening in the clouds.
(Brown P13)
This lighting increases the amount of movement and feeling here as it increases the number of water droplets seen splashing on the boat as each one is reflecting from itself.
St Matthew (8:23-26)
5. Portrait of Nicolaes Ruts 1631 46 x 34 3/8 "
Here is a clear diffuse glow over the whole portrait.
(Brown P15)
This room light isn't specific to one area just illuminating the character and the surrounding back ground.
This creates well-composed piece,
Concentrating on the fur and ruff being captured well because of the light being soft.
6. The Descent of from the Cross 1636 34 1/4 x 25 3/4 "
One of a series of passion paintings, this one is very obviously using light to put across it's feeling.
The spotlight from the skies coming down through the clouds clearly singling out Jesus as the disciples took him down from the cross.
(Brown P17)
This also makes his skin glow being bounced back into some faces looking down.
This light is also so specific what it chooses to light up, it misses the floor under Jesus's feet and the surrounding area.
The shadow makes the white of the rags more intense signifying the pure Jesus sitting inside them.
This isn't also to put a feeling across, but an underlining story about the characters involved. Here whether a viewer knows the story or not it is clear that the man in the middle is clearly the most important, loved, powerful and even slightly holly. And all this just from the lighting.
7. The Blinding of Samson 1636 93 x 199 "
Showing the scene of Samson's blinding in a cave allows another spot light effect, as it's coming in only on the side of the cave opening.
(Brown P19)
It is also clearly bright out side as it's being harshly reflected from the armor further inside the cave mouth.
And the translucent effect of the blond man being so close to the opening from the viewpoint of the painter.
This is a natural light that is naturally channeled, making a natural spotlight.
10. The Anatomy Lesson of Dr Tulip 1632 66 3/4 x 85 1/4 "
This piece I think is important in Rembrandt's life, as it was one of the paintings that gained him great reputation in Amsterdam.
It's one of my favourites because of how he's managed to capture the translucence of the human skin. These scientists' faces are soft by reflecting light, whilst retaining some pigments, and so becoming translucent.
(Brown P23)
This it's self is hard, but also capturing the difference of translucence, colour and reflection of a dead body against a live one. The whiter skin of the dead man reflects more, as the people in the back receive less light off him, than the live skin with less colour pigment making it more translucent.
Being a scientific piece, Rembrandt focused on anatomy, referencing his dissected hand from another source. Therefore his lighting and focus is on the faces and intelligence in these men, lighting up their faces with humble soft lighting.
17. Agatha Bas, Wife of Nicolaes Van Bambeeck 1641 41 1/2 x 33 "
This intricate painting shows off Rembrandt's attention to detail. He captured the wife's wispy hair texture reflecting faintly against the black background.
(Brown P35)
It is clear that each different surface and material acts different against this light, the pearls and jewels reflecting it back, the velvet shimmering light away and the lace, blinding against the black. He had almost perfected and understood how light worked against surfaces.
The garment also falls around her capturing the weight and feel of it's materials.
The attention to detail in material and physics is something I need to consider in my work if I want to replicate a real life scene.
18. Cornelis Claesz. Anslo in Conversation with a Woman 1641 69 1/4 x 82 3/4 "
This piece on the preacher I picked up because it's clear to me that the light is being used to represent knowledge. Its coming straight out from the book indicating that they are learning from it's teachings.
(Brown P37)
The light hits the woman more than the preacher, to indicate that she's learning and taking in more than he is.
However the light on her is harsher and brighter than the light in the rest of the image. If anything he seems to be channelling the light to her and increasing it's intensity, and so through the books knowledge and his teachings, and own knowledge, she is learning, using light here as a metaphor.
Here is a good example of more reflection on light weight, white material.
(Brown P49)
The intricate folds in the light creating harsh shadows to form the shape needed.
And the shine of the metal sash glints in the light against the black clothes behind.
This portrait of Rambrandt's only surviving son from his marriage to Saskia, born in 1641. Here is an image that relays on light to create a form the eye wishes to see, in this case a child's face. The difference of one half being in light and the other in shadow allows shapes to form.
(Brown P61)
The white paper sheets are brighter, illuminating back up to the face.
The second thing I noticed is that he hasn't used a lot of colour, (used only red on the sleeves and hat) this is because his son was ill and so would have been very pale. Making light the most important thing to perfect in this image.
Rembrandt has also created a wood texture using his light technique, as well as etching in the surface of the painting with the end of his brush.
32. The Conspiracy of the Julius Civilis 1660-2 77 x 121 "
This scene where the Batavians were swearing an oath to resist the Romans. This was interesting as there is also the same artificial light being used as a metaphor for, in this case wealth and power of the table illuminating to the people.
(Brown P65)
This is contrasted with their back facing the painter splitting the glow from the table to intensify it.
The light radiates nicely upwards towards their faces by process of graduations.
The thing that captured me in this painting was the light travelling through the ruff around the woman's neck, increasing the detail in the garment. This is significant, as it makes me realise, that even the smallest detail can makes the biggest difference and change the look of a piece.
(Brown P70-)
Brown, Christopher (2000) Rembrandt with 40 Colour Plates
Van Gogh
As well as light I need to look at colour in paintings, which I why I have chosen to study Van Gogh's work in Van Gogh in Full Colour 1954.
Throughout his life Vincent had battled between choosing two things he loves, religion and art. He first decided to follow down the path of Christianity playing around with different roles and dedicated his life to the bible in varied ways. However finally he became aware that his love for art was strong, and dropped his teachings to practise his skill in art. Page 1- 11
3. Portrait de L'artiste 1887 17 1/4 x 14 3/4 "
Vincent Van Gogh's style is very recognisable. Painting mostly with oils, his strong brush strokes following the form and movement of the subject.
(Gogh P16)
He also captures colour in places, that normally wouldn't be seen, accentuating them fin his paintings.
The background and the shirt, would confuse themselves if it wasn't for the different textures being use for each.
4. Pannier Rempli de Pommes 1887 19 3/4 x 24 "
Here colour is being used to focus in on the apples, being the only thing in colour, against the white surface.
(Gogh P17)
He has clearly used the colour red to outline his forms. As seen in the apple and the whole basket.
Vincent has then painted over this with his pastel green and yellows.
These apples also share similar colours in places as they reflect it out to one another, being so compact in the basket.
The forms again here have been created by using different tones of colour rather than focusing on black and white, light and shadows. This is why the green/yellow apples stick out in the red basket, which in turn sticks out because of the white table top.
This teaches us that colour is as important when creating form, but ends up with a different effect. Rather than a contrast being created, instead we see a wash of graduating colours distinguishing between materials.
8. Jardins de Maraichers 1888 28 1/2 x 36 1/4 "
This out door scene I first noticed had little to no lighting consideration and inclusion in it. Only the buildings I can clearly see have shadowing and the mountains in the distance.
(Gogh P21)
This has left Vincent with the freedom to discover the colour in his scene. To distinguish the foreground and the background the detail in brush stroke gets less the further into the distance you look.
To influence the perspective view he also blocks his colour in strips, each one indicating that it's further from the painter than the last.
Going from Detailed yellow and oranges, to dark greens, to muddy greens, to yellows again, to darker blues and finally to the simple blues in the sky.
This techniques relay less on light hitting surfaces, but what the eye can see in the colour of the subject which is something I need to keep in mind when creating my scene.
10. Le Pont de L'Anglois 1888 11 3/4 x 11 3/4
I like this piece because the structure of the bridge is very strong, as Vincent's used the black to outline a shape before painting colour on top. He hasn't used a lot of colour here, as I believe it was a quick sketch simply to establish what is going on.
(Gogh P23)
These strong lines compose the image well making the viewer eyes follow down from the bridge to the river bank and the bottom right corner of the screen.
Although this was quick, he still managed to, using his famous brush strokes, capture the movement in the water as the washer women wash their clothes.
13. Tige Fleurie D'Amandier 1888 -
Vincent here was trying to capture the flowering of an almond twig. He manages to include a variety of colours on the bulbs from blues to oranges.
(Gogh P28)
He also has used the end of his brush to etch in some texture to the wood twig bits.
A perfect example in Vincent's lack of lighting use and or understanding, is the shortage of reflection coming from the glass and the water inside it. There are some white strokes where he's considered it, but there's no obvious refraction of the branch hitting the water line, nor the sparkles of the liquid and glass.
His horizon line I also noticed has a red broad line across it, in the same colour as his signature. Though I'm not sure of it's significance, I know it clearly clashes against the rest of the piece, something I wouldn't have considered doing myself.
Therefore maybe why he is more free with his colours and ends up creating scenes I cannot.
14. Tournesols 1888 36 1/2 x 28 3/4 "
This painting I had to mention because it is one of his most famous. It's classic to his style. He has bright colours, though not a lot, sticking to a couple of tones yellows and greens. And with basically no light added, creating a very flat looking image.
(Gogh P29)
I do like the texture he was able to create with his oil brushes on the flower centres, however the vase has no tone to it at all. Without shadows and highlights, I can clearly see how an image, like this, would become flat.
It confirms to me how light and colour do have a huge role in art, however when creating a realistic scene, light is something that must come first.
20. Barques sur le Rhône 1888 21 3/4 x 26 "
This painting, largely showing water, captures the reflection of the pigment colour from the sky on it's surface.
(Gogh P35)
As well as the reflection of the boats.
His strong brush stroke also allows the boats to be seen clearer, clashing against the blue.
It nicely demonstrates perspective of the sea going out towards it's horizon line, joining with the sky.
21. Nature Morte 1888 25 1/2 x 32 "
This is the sort of image similar to my studio work, being a still life of everyday objects left as if still in use. He captures the reflection on the ceramic crockery, orange and lemon surfaces well, illustrating, to the viewer, exactly what surface they are by how the light is being reflected, diffused and refracted back to the eye.
(Gogh P36)
He also looked into the detail of the pots picking out the Moroccan style decoration. The French style jug and tea pot, and oriental cup and saucer all come from different places, and look together in one image. This contrast of colours and patterns confuses me, as there's not a strong theme, which is something I would like to avoid.
However Vincent has managed to get his technical form down accurately with everything being the correct size, distance, and shape to what I can image was the real life reference, which is something I like about it.
23. Le Cafe, le Soir 1888 31 x 24 3/4 "
Here is another example of Vincent's use of colour as light. He has made the cafe look a lit because of the warm yellows and oranges, against the blues and greys of the outside street.
(Gogh P38)
The lamp shines it's blinding yellow light on every surface near it.
And he has managed to capture this colour difference in light, to create a texture of the, what we can clearly see are, cobbled streets.
24. La Chaise et la Pipe 1888 36 1/2 x 29 " and 25. Le Fauteuil de GauGuin 1888 35 3/4 x 28 1/2 "
These two are very similar images however done in two different styles. 24 compared to 25 looks more realistic, it's background containing more detail.
The chair being firmer and more stable.
Everything in 24 is exaggerated in 25. With the rags and pipe turning into some books and a candle.
It's like seeing the same image but in
different colours and therefore moods, 24 being calmer than 25. And so colour
can effect an image greatly.
29. Vue D’Arles 1889 28 ½ x 26 ¼ “
This piece is different to previous ones,
he clearly adds as much detail as possible
Even the further back his eyes travelled.
(Gogh P44)
This means that the foreground and
background both merge a little and the image becomes flat and overcrowded.
33. Nature Morte sur une Planche a Dessiner
1889 19 ¾ x 25 ¼ “
This image, because of it's confusion, made me think about what Vincent
was seeing in his work and with his own eyes, so I researched a little on his health conditions and
found on
http://www.psych.ucalgary.ca/pace/VA-Lab/AVDE-Website/xanthopsia.html
http://www.psych.ucalgary.ca/pace/VA-Lab/AVDE-Website/xanthopsia.html
He had Xanthopsia which his medication for it caused his eyes to see “through a yellow filter” Now I feel understand more about
his work and himself.
(Gogh P48)
I can tell in the one the specs of yellow
in every object he will have seen himself with his own eyes.
Even in the darker areas he notices brown - yellowish colours.
Even in the darker areas he notices brown - yellowish colours.
36. Au Bord de Alpines 1890 22 1/2 x 28 "
This distorted interpretation of the alps has lost a lot of detail instead opting to use bright colours.
(Gogh P51)
This colour is the only thing distinguishing each scene area from the amount of blur. Green, Pink, Blue. This freedom, allows things to be lost in one another, which I something too abstract for me to create.
37. Le Ravin 1889 28 3/4 x 36 1/4 "
This painting also has lost detail in the areas, however instead of colour here Vincent has focused on movement. This movement seems to follow the forms of the subject in particular the mountain side and the river bend.
(Gogh P52)
His use of colour tones also add to the movement in this piece, this quickness in his paintings is how he was able to create so many in the space of a year. I intend to take my time in my studio work so, unlike Vincent, I wont be focusing on colour and movement as much as I will light and detail.
39. Deux Enfants 1890 20 1/4 x 18 1/4
These yellow distorted children are interpreted with movements in places that don't make sense, like their fingers and faces, becoming abstract.
(Gogh P54)
This I find doesn't really do much for the subjects, and the image.
41. Portrait du Docteur Gachet 1890 26 x 22 1/2 "
However movements for this portrait works well, by adding more emotion to the painting. His face distortion makes his it seem longer and droopier so more of a feeling of sorrow is being put across, whether that's what Vincent was trying to achieve or felt at the time.
(Gogh P56)
43. La Route aux Cypres 1890 35 1/4 x 28 "
This famous piece of art I like, as it seems like Vincent actually saw his everyday like this. Adding sparkles of movement and colour in everywhere he looks.
(Gogh P58)
This interpretation he put into his work was therefore very much based on his personal experience. This is something I need to avoid when interpreting my reference for objects, as I'd like it to be realistic so many can relate to it. This is difficult to achieve, when also trying to add your own personality, so a balance is important.
48. La Chambre de Van Gogh a Arles 1889 28 1/4 x 35 1/2 "
This is directly related to my Studio work as it's also the subject of a bedroom. This realistic painting has the right amount of detail I would like to attempt to recreate. His detail with the objects on the table adds use and purpose to the room.
(Gogh P63)
His detail in the way he painted materials also, like the strong brush strokes of the wood,
and the soft splodges of the soft bedding. This is something I need to recreate digitally when doing my separate materials.
So I have collectively learnt, from Van Gogh and Rembrandt that both colour and light are important in a scene. I have found that when used properly, light can make something look alright, to super amazing realistic, and colour feel OK, to intense emotion across the subject.
I need to remember to not use my own interpretation of a life reference effect my final work, nor will I let it have zero personality.
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