Paint like Rembrandt House Paint by Shankar-gallery

paint like rembrandt

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Hey yo guys this is ASR , back with another track ...
this time it's 'There's Nothing Holdin' Me Back' by Shawn Mendes ....


Enjoy ! thank ya

Fake Accent

Shawn Mendes - There's Nothing Holdin' Me Back (ASR Turbo Remix)

There's Nothin Holdin' Me Back (ASR Turbo Remix)

NARRATOR:
Lucretia, the subject of this painting by Rembrandt, was an ancient Roman heroine.  While her husband fought on the battlefield, she invited the son of Tarquinius; the Etruscan king of Rome presented himself at her home.  She received him as an honored guest.  Knowing of her husband’s pride and fidelity, raped her.  
When her husband and father returned, she denounced her attacker, then chose to take her own life to restore the honor of the family.  Lucretia’s tragic story came to stand for womanly virtue.

Curator Arthur Wheelock.

ARTHUR WHEELOCK:
“Rembrandt has not shown the terrible rape or the confrontation that she had with her father and other members of the family.  But he has instead isolated her.  He has shown her half-length figure poised between life and death almost as though she is addressing the sword with which she is about to kill herself.” 

“He has separated out Lucretia from any context, so that you as a viewer have to focus on her, her moral dilemma, and experience it in the most fundamental and powerful way possible.  And as a result, this is one of the most powerful and expressive paintings from   the very end of his life.”

“Rembrandt’s Lucretia comes in 1664 at a moment when he was painting almost exclusively for himself.   He painted in these years a number of single figures caught in a moment of inner turmoil or concern about how one should conduct one’s life.  It seems that these paintings reflect very personal associations, very powerful summations of his life’s experiences.”

“The figure of Lucretia looks so much like Hendrickje Stoffels, with whom he lived at the end of his life, that one can only suspect that Hendrickje served as the model.  However, Hendrickje had died just a few years earlier.  So what we have here is a memory of Hendrickje brought to life in this image of Lucretia.  And the associations are also on a very personal level in that Henrickje and Rembrandt, and Hendrickje in particular, were persecuted by local authorities because they lived together as man and wife without being married.”

“But there are many broader issues as well.  There is this interesting connection between Lucretia and her role as a heroine out of antiquity.  The Roman people rose up after her death and overcame the tyrannical ruler Tarquinius and established the Roman Republic.  And the Dutch, who had established a republic in the 17th century, saw themselves as the direct descendants of the Roman republic.  Thus there were many plays about Lucretia and her life and her death that were performed in Amsterdam, in the 17th century, so that… associations with her life and her sacrifice, and the role she played in establishing this republic that may also underlie this image.”

ARTHUR WHEELOCK:
“Rembrandt at the end of his life worked in a very broad technique.  He knew the expressive character of paint, and much of the power of this image comes through, particularly in this marvelous robe that she wears.  And if you look near the outstretched hand, at the right, you can see the cuff of her robe and even in the gilded areas that there are flat planes of paint that suggest that Rembrandt was executing this largely with a palette knife.  So he was combining a brush and a palette knife creating the thickness and the thin nesses of the form.”


Lucretia, Rembrandt-English

ARTHUR WHEELOCK:
“This self-portrait was painted by Rembrandt in 1659, ten years before he died.  At the time his career was at a low point, for after working his way to great popularity and worldly success, he had declared bankruptcy and everything he owned had been sold.  And he was only 53 years old.”

“Here, he seems to record exactly what he sees in the mirror, leaving vanity aside – the deep wrinkles, the sagging jowls, the bulbous nose, the dark, deep-set eyes.  But the gaze is steady, and the face is full of dignity.  His somber costume leaves us no choice but to focus on his face, bathed in light.  The result seems an exercise in self-analysis, an artist’s unflinching effort to know himself.”

“You can’t just glance at a Rembrandt painting: you’ve got to give it time.  That’s especially true in a self-portrait like this one, where the artist is looking right at you.  And once you allow yourself to come into Rembrandt’s world, you get caught by his eyes and you’re held there, drawn in by the power of the image, as if you were looking at a real person.”

“Rembrandt achieves this uncanny effect in part by involving us in the process of his painting.  Look closely at the eyes for instance.  In places, the paint is so thickly applied it seems tangible.  In fact, it’s the kind of picture that was once described as so thickly painted you could pick it up by the nose.  It’s as if the artist were sculpting in paint.”

“But right next to these blobs of rough paint – called impasto – are areas of thin gray-blue, under painting that Rembrandt has deliberately left showing through.  There are no subtle gradations; he just goes from thick to thin.  We complete the transitions in our minds.  And you can see other ways he’s worked the paint – the highlights glistening on the hair, for example, are actually scratched into the paint with the blunt end of the brush.  We can almost feel him coaxing the figure into life.”

“Rembrandt’s portraits often have this furrowed brow, giving a sense of intelligence, of a person caught in thought.  I think he knew it would get the viewer involved.  And his dramatic lighting focuses our attention as well.”


“So these different devices: the imposters, the thin areas, the gaze, the light, all work to bring us into the painting.  And let us see what we want to in it – from the artist’s own history of disappointments to reflections of our personal doubts, hopes or sadnesses.  And that’s what Rembrandt could do best of all.”

ARTHUR WHEELOCK:
“For years, this painting was dark and brown, covered with dirt and discolored varnish.  It made the sitter look a lot more depressed than he does now that the picture has been cleaned and the pinks of the face have emerged.  Before the restoration, Rembrandt’s body was barely visible.  But now we can see that he posed himself in a very classical way, with one shoulder projecting out towards us, setting his head back in space and giving it weight and credibility.  This pose in fact is based on a painting by Raphael that Rembrandt had seen and had made a drawing of twenty years earlier.  It gives the psychological and emotional qualities of the work a firm physical foundation.”


Self-Portrait, Rembrandt-English

Taken from Scientific Dreamz of U / Junior Loves "The Dreamcode", out on cassette and digitally 10 March 2015.

Buy Tape: http://1080pcollection.bandcamp.com/album/the-dreamcode

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The Dreamcode

Scientific Dreamz of U - Sacred Fractal Geometry

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- Released: Jul 16, 2014

℗ 2014 Pison Contents

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Just tryna make some cool music and share it with the world..

Aim - wanna visit L.A. once in life ...