A closer look into one of the greatest artists in history. Rembrandt Harmenszoon van Rijn, a Dutch etcher and painter born in 1606. This artist had an extremely unique style of utilizing light and color. His values range in an interestingly consistent method over his long life of creating some of the most recognizable art in history.
A Young Scholar and his Tutor, about 1629 - 1630, From the collection of: The J. Paul Getty Museum
This painting of "A Young Scholar and his Tutor" demonstrates the usage of Rembrandt's capability to be able to range his values from a darkened background, to a focus point of a little girl student being taught by her mentor who passionately teaches his student. The gils face is the brightest thing in the image and forces the viewer to focus on it.
Portrait of Johannes Wtenbogaert, Rembrandt Harmensz van Rijn, 1633, From the collection of: Rijksmuseum
This painting called "Portrait of Johannes Wtenbogaert" of a noble man in front of a bible. The background to foreground contrast force the viewers eyes to focus on the pieces subject. Like the previous painting, the values range from dark to light and the focus point is on the subject's face.
St. Peter in Prison (The Apostle Peter Kneeling), Rembrandt van Rijn, 1631, From the collection of: The Israel Museum, Jerusalem
This painting of "St. Peter in Prison" is one of the most creative ways I've seen Rembrandt utilize the tones in this painting. This picture shows Saint Peter motionlessly dwelling away in prison with his hands cuffed. Once again his face is the brightest part of the piece. This forces our eyes to focus on the subjects face. Diagonally speaking, the image is very balances due to the creative usage of tones.
Titus van Rijn, the Artist’s Son, Reading, Rembrandt Harmenszoon van Rijn, 1656/1657, From the collection of: Kunsthistorisches Museum Wien
This painting called "Titus van Rijn, the Artist's Son, Reading" utilizes a great balance of tones. The two brightest points in the image are the subject's face and hands. Rembrandt (as always) The painting dynamically splits the two bright points into the upper right quadrant, and the bottom right quadrant. This technique allows for a creative blend with the subject and the background.
Self-Portrait, Rembrandt van Rijn, 1659, From the collection of: National Gallery of Art, Washington DC
This Rembrandt, titled, "Self-Portrait" painted in 1659 is a very dark piece all together. Like usual Rembrandt chooses the subject's face (and hands) are the brightest parts of the piece. Once again this creative painting is masterfully balanced out by the top right quadrant and the bottom left quadrant and the character (once more) blends the subject's clothing in with the background.
(Main View), From the collection of: The J. Paul Getty Museum
This painting of "An Old Man in Military Custom" was painted by Rembrandt about 1630-1631. This painting is the first in this series to utilize a reversal of the technique. The majority of Rembrandt's work is of a dark nature. This allows for a less dramatic feel. Regardless of the fairly bright background in contrast to the subject, the subject's face is still the biggest and brightest part of the piece.
The Conspiracy of the Batavians under Claudius Civilis, Rembrandt Harmensz. van Rijn, 1661/1662, From the collection of: Nationalmuseum Sweden
This paining of "The Conspiracy of the Batavians under Claudius" finished anywhere between 1661-1662. Was a unique demonstration of Rembrandt not painting with use that range from light to dark. This painting uses mid tones instead of an extreme difference in contrast between the lights and the darks.
(Back, pre-cons.), From the collection of: The J. Paul Getty Museum
This painting, by Rembrandt of "St. Bartholmew" utilizes the top left in top right two quadrants to balance out the painting's values. The face and hands are the brightest pieces and darkness is all around the character. The values consisting of the very dark background and the subjects face.
The baptism of the eunuch (Copy of a lost painting), Rembrandt Harmensz van Rijn, 1631 - 1631, From the collection of: The Kremer Collection
Rembrandt painted "the baptism of the eunuch" in 1631 is a different method of Rembrandt's execution in utilizing different values in his picture. Rembrandt's style isn't always the same, for example this piece demonstrates that Rembrandt can utilize another midrange but dramatic look and feel.
The Mennonite Preacher Anslo and his Wife, Rembrandt Harmenszoon van Rijn, 1641, From the collection of: Gemäldegalerie, Staatliche Museen zu Berlin
Rembrandt's "The Mennonite Preacher Anslo and his Wife" which was painted in 1641. I think that this painting is a prime example of what people refer to when people think of a "Rembrandt Piece." The look and feel of this piece has once more a very dark background with the subjects fading in the background. Once more the three brightest pieces in the picture are the subjects face, hands and the subject itself.
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