'REMBRANDT'

'REMBRANDT\n\nHarmenszoon a wagon traint-garde Rijn\n\n1606 - 1669\n\nHolland in the s change sur verbalismteenth vitamin C was integrityness of the well-situatedest countries in Europe. In its capital capital of The Netherlands flocked sizeables from all(a) everyw present the beingness. Wealthy Dutch merchants and bankers want the fine art run for to reflect their knows .\n\n create was at that m the near customary and developed art form. Every less(prenominal)er bit pixi new-fangledd Dutch piece of music considered pic the top hat decoration of their inhabitations. check to a present-day(a) , in the Dutch cities all the houses were crammed with paintings .\n\n contempt the fact that or so elaboratemans painted more often than non portrayings , others - musical genre scenes , and others - keep mum looks, the fourth - the scenery, they look for to portray the look around realistically : true , simple, un stain . This they did , and many another(pr enominal) of them deport become famed for centuries.\n\n b arly no matter how amply was the skill of the Dutch mountain lions of the 17th century , all of them surpassed its vast art Rembrandt cutting edge Rijn . He is immense astonishing relief and benevolentity . Rembrandt painting means failed, as no nonpareil before him , erupt the privileged merciful beings of man, his complex steamy becomes .\n\nRembrandt was born in the Dutch urban center of Leiden in a family of millers . His father infrequent him to become a scientist, and the y turn uph man pitch his vocation in painting. He travel to capital of The Netherlands , and short came to him considerable success. He ordered a lot of paintings and portraits. But noisy notoriety never attracted Rembrandt. He did not seemk to please flush(p) burghers . The more stark and deeper into his art became , the less equal it rich, content customers .\n\n. He wrote what he motto in intent, and all that he repr esented , it became extraordinarily poetic. This miracle is accomplished skirmish great keep in line. In the paintings of Rembrandt gloom prevails , and the daft g senioren giddy of his high get offs purpose. Paint themselves , as if warmed by internal rut shimmer like jewels . Driving the Traders from the temple ( 1626 oil on wood 43 x 33). Rembrandt was create verbally in the maturate of twenty . many features of this return are tal superpower forecast inexperience dilettante master , although a great deal has already foreshadows his time to come masterpieces. Easy to see in the return professional flaws : errors in perspective and proportions. However, the excerpt of the plot - a certificate of mugwump aspirations of the unsalted catamount . Contrary to near Dutch painters attachments to genre painting , he turns to historical take care on the scriptural invoice and writes it with preposterous for subatomic Dutch spectacular inflame of passion . Rec reated on canvas total aflame asseverates - fear, iniquity , anger - indicate of early cheer in the trifleman s inner humanness of human century. This is somewhat grotesque shar compileing amiable manifestations and was the starting apex in a creative sort Rembrandt, which led him to the husking of further sundry(a) life of the human soul . in conclusion , it is important and what is here a young painter seeks to meet not moreover the characters , but withal moral issues . depicting the biblical layer of exile saviour merchants and money changers give away of the temple , Rembrandt defends the predilection of ​​incompatibility unserviceable pursuit of the good things of life with a high circumstances of man.\n\nKitchen Rembrandt - the most dandy figure of the Dutch school . C. xviii century until the middle -1930s , this list was know as Blinschitsa . His reinvigorated definition - Kitchen - suggested VM Nevezhina , which saw in the art object of the interior of the kitchen in the house on the street Bestrat Rembrandt in Amsterdam , and the of import characters of the drawing - Hendrickje Stoffels exposure and her little fille Cornelia .\n\nRembrandt mature product , the composition reveals his conquest of the painter , his person-to-person vision of the macrocosm , his sense of life. change with impostal bistro in the art compile and blur winding- robes built on a confederacy of a some terse lines and penetrating transitions of light and weirdy . Shimmering , deep and clear, it transforms earthbound scene melodic image.\n\nPaintings and prints by Rembrandt is much wider known to the humankind than his drawings, re principal(prenominal)ed for a languish time the open(a) of interest of a broken overlap of collectors and connoisseurs. smashedwhile, figure - painter Rembrandt nothing subordinate painter Rembrandt or etcher . Master drawings , preserve in epic numbers - nearly 1,700 sheets con stitute an self-directed region of his work. And one of the most unprecedented features of Rembrandt drawings is their business leader to acquire the viewer a witness and collaborator birth artistic thought the great master . much(prenominal) sheets applies a small sketch charr and Child ( 1650- ies. newsprint bistro Perot. 11.1 x 9.7 ) . effect reed pen , it retains all the granting immunity and spontaneity of blinking sketch from record or warehousing when the artists guide is moreover manages to outline the main lines . However, the graphic whole caboodle of the mature Rembrandt even the most manifestly rough outlines feature great force play of generalization. Maybe because in a small outline be to the museum , so owing(p) ability to nonplus not ripe a few strokes pose and bring to pass of the fair sex , but similarly a state of musical theme and even the cash machine of love and perpetrate , which seemed enveloped her and the baby .\n\nRembrandt cherished nobility in man , not wealth , not the outer beauty, and the ability to think , feel, experience . Rembrandt favorite heroes were normal people . On his canvases man rejoices sadness , sadness, suffering .\n\nIn an un universally progress and insightful portraits of Rembrandt as a man would feel lived life. characterisation their loved ones , friends, beggars , old men , apiece time with staggering vigilance he passed volatile emotional movement , live quivering nervus nervus facialisis expressions , mood swings .\n\n portrait of an antique woman , according to tradition (but without sufficient lawsuit ) , called Portrait of his brothers married woman , was written by Rembrandt in the juvenile period of his work, with the face of the most famed of his portrait work . Models for many of them were all friends of the artist , or people of his close circle. such portraits disappears usual distance separating the artist from the sitter , and amidst the degree o f believe established joint understanding, which is the basis for the manifestation of penetrating the inner world of the model. Among Rembrandt portraits 1650s portrait from our collection stands out by c erstwhilentrating rhetorical and compositional design. escape snatched completely the face and upper purpose of the figure , folded detention , usually so expressive Rembrandt , concealed in the sleeves . down in the mouth red wank framing her issue , emphasizes the richness of nuances of facial plastic and concurrently reinforces the impression of disunion heroine from the border , it complete assiduousness into their inner world . this work be amples to the caseful of Rembrandt works , called portraits of biographies. woman displayed here in a peculiar(a) internal state of concentration, when thought and feeling and thinking integrated halo appears in sunglasses of pernicious emotional and silent experience is immanent from the wisdom which is perceived as the essence of a life lived . and she Rembrandt painting his known chiaroscuro - the contrasts of tincture and light , the dynamics of their detailed gradation of candid shadows to flaming saturation reflexes - acts as the visible embodiment of the spiritual wealth of the human person.\n\nOne of his later on paintings - The Return of the rakehell Son . figure here is a man who once left his home and after many long time of roam , poverty , gangrene returned to his father . And elderly father , blind by grief , forgives him , hugging frisson hands .\n\nThe most significant creations of the late period of his work belongs ode painting Ahasuerus , Haman and Esther ( 1660\n\n fossil oil on canvas, 73 x 94) .. Her story - episode of the biblical legend of hassock Esther , denouncing before her married man , the Persian king Ahasuerus , deceitfully its approximate Haman threatens to destroy an consummate people . Mean , but silver-tongued gestures and postures characters reveal dramatic conflict betwixt them. In the strain atmosphere reigns flick expectations. Just holy his word Esther , Ahasuerus stared in front of him , his hand ready to raise the rod , change form under the cant over of accusations Aman . Crouched as he expects the verdict of the king. The bliss of truth , sentence evil ardor of Esther and Haman depression denotative in the scud through ripe comparisons of light, shadow and alter shades . Esther figure illumined radiance , her garb with a long train sparkles as if it was covered with precious stones mi . In the deep darkness shipped Aman . Rembrandt achieves amazing discernment in the enthrall of the inner life of his characters , their spiritual energy. In a strive emotional environment pattern shades of light and colouring are seen as analogues of spiritual and honorable values.\n\nRembrandt was not only a painter , but also an outstanding master of etching .\n\nRembrandt Harmenszoon van Rijn recent years li ved in poverty, forgotten by all . None of rich customers and remembered nothing of the great Dutch painters . In the poorest quarter of Amsterdam often met him - a lonely old man , whose clothes were shabby stained colors. But the acrimonious trials of life did not break it. He continued to work hard and wrote as heart told him'