Analysis of Rembrandt van Rijn's Paintings - Essay Example

Painting Analysis Introduction The of Arizona is a public institute of higher learning and research situated at Tucson, Arizona in the United States. People also refer to it as UA or U of A. It was the first institution of higher learning in Arizona State founded in 1885 (Rijn 7). It entails various departments of different fields of teaching. An outstanding department is the art museum that is common to everyone who knows the history of the university. This paper will analyze two paintings, The Descent from the Cross and Philosopher in Meditation, both found in the art museum of The University of Arizona. Rembrandt van Rijn took responsibility of the two paintings and many others (Rijn 7). People recognized Rijn as a magnificent and historic painter. The Descent from the Cross (1633) Rijn was best recognized by the people as an etcher instead of an artist. People knew Rijn as a creative printmaker, producing roughly 300 drawings of biblical portraits, subjects, genre scenes, nudes and landscapes. He was motivated by the Italian Baroque paintings, particularly Caravaggio use of chiaroscuro for keen emotional effect (Rijn 7). The Descent from the Cross refers to a scene from the Gospels reports of Joseph and Nicodemus lowering Christ from the cross following his crucifixion. Artists also refer to it as The Deposition of Christ. Other names not stated in the Gospels who were included in illustrations of this art consist of St. John who is pictured supporting a dimming Mary Magdalene. The Gospels reveal an indeterminate number of women as witnessing the crucifixion (Rijn 7). It also included the Three Marys: the Virgin Mary, Mary Salome and also Mary Magdalene who witnessed the burial. These and many other women and unidentified male assistant are shown in the painting. Even in early illustrations the facts and pretense of the work of art and the pose of Christ’s body are different. The scene was incorporated in medieval cycles of Passion or the Life of Christ, from the crucifixion to the burial of Christ. The weeping of Christ and viewing the body of Christ supported by Mary might intervene between those two (Rijn 7). This is widespread in the people’s view, mainly in sculpture. The viewing Christ’s body being moved to his tomb, anointing of Christ and showing the body laid flat on the top of the tomb is another picture that might be thought of in the painting. This is vital in the Orthodox art, where it is revealed on the Epitaph (Rijn 7). With the resurgence, the painting became accepted for altarpieces, partially because of the challenge of the art work and the fitness of its vertical shape. The Mannerist edition of Russo Florentine is viewed as his most significant painting, and Pontormo’s altarpiece is his most determined painting. This topic of crucifixion was painted many times by both Rembrandt and Rubens. Rembrandt also liked the paintings of Rubens (Rijn 7). Rembrandt adapted the compositional format for The Descent from the Cross from Ruben’s painting. Rembrandt though sets the theme back in time. The posture of the body Christ is also copied directly from Ruben’s work. His description of the limp and the lifeless Christ discloses a sense of brutality and sorrow which is missing in Rubens painting. Rembrandt used himself as a representation for the boy on the ladder who clings to Christ’s arm (Rijn 7). This signified his emotional connection to the painting and his religious passion. This is the only painting by Rembrandt bearing the dedication of an art dealer and modern publisher, Hedrick Van. Rembrandt’s studio at that time was situated in the publisher's house, and it was there that he met Hedrick Van’s cousin Saki. Rembrandt married Saki in 1634. The Descent from the Cross and the Pendant Christ before Pilate were both published by Cum Privileges. They were approved by the States General and are alike to the recent copyrights (Rijn 7). Philosopher in Meditation Philosopher in Meditation refers to a traditional name of an oil painting in Muse du Louvre, Paris. They have long been credited to Rembrandt, the 17th-century Dutch artist. It was marked “RHL-van Rijn” plus dated 1632, at the day Rembrandt relocated to Amsterdam from Leiden. Modern researches argue that the painting describes Anna and Toby waiting for their son Tobias to come (Rijn 7). The painting emerged in Paris in the mid of the 18th century. It made the circulations of aristocratic gatherings before being purchased by the royal collections, housed in the Louvre Palace. The reputation of the painting may be approved by its occurrence on the Internet, where it is frequently read along occult or obscure lines and used as an emblem of philosophy. Philosopher in Meditation is painted in oils on an oak panel (Rijn 7). The painting portrays two accelerated perspective people in a partly arched interior. The interior is eaten up by a wooden spiral stairway. The house includes brick, wood and stone, with arched essentials such as the vault, doors and a window that set a feeling of monumentality. To the graphic brilliancy of the painting, this is one of the best graphic jobs done by Rembrandt. This is with the reasoning that it carries many curved, straight, radiating, and circular lines: from the lines of the window to those of the flagstones, the wainscoting, the bricks, and the stairway. The stairway plus the tray at the center of the painting make the curved lines of the painting and put in order the straight lines (Rijn 7). The first picture is that of an elderly man placed at a table besides a window his hands folded in his lap, and his head bent. The second picture is that of an elderly woman creating a fire in an open furnace. A third picture, a lady on the stairs turned to the observer and holding a basket are seen in the 18th and 19th century imprinted in painting. The whole painting is dark because of the aging of its varnish (Rijn 7). The traditional name Philosopher in Meditation accounts for the painting’s fame although it is graphically weak. The painting demonstrates none of the obvious attributes of philosophy or scholarship. These attributes are the likes of books, scientific instruments among others. There should also be an existence of at least one picture in the painting concerned with the privacy connected to with meditation and study of a painting. Though a monumental book and a feather appear to be among the few items on the table besides the main character, they are summarily illustrated and impossible to recognize more correctly. A Bible only would not be enough to make the figure portray a philosopher or scholar (Rijn 7). Stairways, whether spiral or not, were not an element of philosophy in the 17th century. Comparable remarks argue against recognizing the main subject as an alchemist, a figure that would permit for other subjects, such as a helper trying to produce fire. The objects portray domestic scenery, yet the dubious structural design talks more for a historical than a genre subject. A French art historian, Jean-Marie Clarke says that the prospect is derived from the book of Tobias or Toby, one of Rembrandt’s preferred Old Testament references. The solitary opposition to this understanding is that aside from the two key figures, the wife Anna and blind Toby, there is no recognizing quality, such as Anna’s spinning wheel. A reasonable understanding of the scene is Anna and Toby waiting for the arrival of their son, Tobias, a scene that Rembrandt had previously represented in 1630. This is held up by an 18th century painting of the same scope by Rembrandt representing a painting of Toby plus a winding stair (Rijn 7). Conclusion The first supply for The Descent from the Cross failed to diffuse suitably, and; therefore, Rembrandt implemented a second supply that bore fruits. There is a painting in Munich by Rembrandt of a similar date and title, which was specially made by Prince Frederick of Orange, but it is not clear whether the etching or the painting was produced first. Works Cited Rembrandt, Rijn. “The Descent from the Cross.” The University of Arizona Museum of Art. Np. 4th November, 1633. Web. 7th September, 2007. http://artmuseum.arizona.edu/exhibitions/web/rembrandt/exhibit1/e10001a.htm. Read More