He imagines back when she was healthy. In this thought, Aunt Frieda undresses “herself, slowly” (line 12). She is doing this possibly “for the love of a man” (line 13). During the undressing, she reveals herself to him. The speaker describes her body as “frail” (line 15) and possessing a “scarred beauty” (line 16). He elaborates by stating that Rubens would “surely have missed” (line 16) that beauty but, Rembrandt would “have immortalized” (line 18) it. To make sense of the comparison between the two artists’ ability to capture Aunt Frieda’s “scarred beauty”, one can look at each respective artist’s work titled Descent from the Cross. In this work, Rembrandt’s depiction fundamentally transforms Rubens original work into a powerful realism that allows the viewer to develop a deeper understanding of Christ’s suffering. Thus, this relates back to Aunt Frieda as Rembrandt would be able to capture her beauty better than Rubens
He imagines back when she was healthy. In this thought, Aunt Frieda undresses “herself, slowly” (line 12). She is doing this possibly “for the love of a man” (line 13). During the undressing, she reveals herself to him. The speaker describes her body as “frail” (line 15) and possessing a “scarred beauty” (line 16). He elaborates by stating that Rubens would “surely have missed” (line 16) that beauty but, Rembrandt would “have immortalized” (line 18) it. To make sense of the comparison between the two artists’ ability to capture Aunt Frieda’s “scarred beauty”, one can look at each respective artist’s work titled Descent from the Cross. In this work, Rembrandt’s depiction fundamentally transforms Rubens original work into a powerful realism that allows the viewer to develop a deeper understanding of Christ’s suffering. Thus, this relates back to Aunt Frieda as Rembrandt would be able to capture her beauty better than Rubens