The contrasting and comparing Frans Hals’ “The Women Regents of the Old Men’s Home in Haarlem and Rembrandt’s “Anatomy Lesson of Dr. Tulp” is like fastening a window to a mirror set at an angle reflecting the occupant of the room and the figures of the passers-by. Nevertheless, had Hals and Rembrandt set up such a mirrors in their studio windows, at Haarlem and Amsterdam, in the middle of the seventeenth century, fixing the reflections by some magical progression, the end results are something like the series of portraits they created. In all honesty, it is the life of the people that make up the daily crowd on the street that they were at home. More importantly, men of the people, and it was for the people that shaped the powerful middle class
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The loose painterly brushwork, and Hals lively style of painting flagellates the lethargic flesh of the sitters and restores life as the magic of the brushwork seems to throw their faces out of a swoon-like slumber. Moreover, the portrait conveys a stern narrow-minded, and calm sensibility. As the women look out from the painting only two of them meet the spectator’s gaze with expressions that range from unfriendly, indifferent, and kindly concern. However, the gloomy, and virtually unicolor palette scattered by the white accents of the clothing’s underwrites to the painting’s …show more content…
However, the breakdown of the metaphoric parallels to the brushwork whose pipes are no longer watery, but broken so that it seems to crumble into particles of color, here and there, a shimmer of red flares up through the back like the final flicker of dying embers in ashes. The group portrait is immersed with the concept of mortality, and old age and death seems a threat, where once there was activity and sociability.
Anatomy Lesson of Dr. Tulp
Rembrandt Van Rijin’s “Anatomy Lesson of Dr. Tulp” created in 1632 is oil on canvas, the height is 169.5 cm and the width is 216.5 cm, and located in the Royal Picture Gallery Mauritshuis.
Rembrandt’s “Anatomy Lesson of Dr. Tulp” is a well thought out composition. On the left side of the painting members of the surgeon’s guild huddle together while the corpse is put in the foreground. As an effective perspective Rembrandt diagonally, and dramatically shorten the scale of the corpse electrifying the space around it by disrupting the strict frequency of relative vibrations of alignment and translational substructures found in planar orientation where translational stripe structures is
The loose painterly brushwork, and Hals lively style of painting flagellates the lethargic flesh of the sitters and restores life as the magic of the brushwork seems to throw their faces out of a swoon-like slumber. Moreover, the portrait conveys a stern narrow-minded, and calm sensibility. As the women look out from the painting only two of them meet the spectator’s gaze with expressions that range from unfriendly, indifferent, and kindly concern. However, the gloomy, and virtually unicolor palette scattered by the white accents of the clothing’s underwrites to the painting’s …show more content…
However, the breakdown of the metaphoric parallels to the brushwork whose pipes are no longer watery, but broken so that it seems to crumble into particles of color, here and there, a shimmer of red flares up through the back like the final flicker of dying embers in ashes. The group portrait is immersed with the concept of mortality, and old age and death seems a threat, where once there was activity and sociability.
Anatomy Lesson of Dr. Tulp
Rembrandt Van Rijin’s “Anatomy Lesson of Dr. Tulp” created in 1632 is oil on canvas, the height is 169.5 cm and the width is 216.5 cm, and located in the Royal Picture Gallery Mauritshuis.
Rembrandt’s “Anatomy Lesson of Dr. Tulp” is a well thought out composition. On the left side of the painting members of the surgeon’s guild huddle together while the corpse is put in the foreground. As an effective perspective Rembrandt diagonally, and dramatically shorten the scale of the corpse electrifying the space around it by disrupting the strict frequency of relative vibrations of alignment and translational substructures found in planar orientation where translational stripe structures is