We will decide Wednesday whether there will be a trip to New York art galleries: THIS Saturday 6/23 from 11am-2:30pm. We can go to the Met and look at Rembrandt and Carravaggio up close, or we can go to Chelsea Art galleries and look at an array of contemporary artworks. The Nicole Eisenman show will still be up.
These two paintings are helpful reinforcements to some suggestions you've been giving me in the recent classes; Rembrandt's application of paint is excitingly thick and "fearless," and the second painting is a good example of the creation of an abstract ambiguity from figures. These were helpful examples for me.
ReplyDelete-Shelby
The Rembrant's painting shows so much texture on the face.
ReplyDeleteHis use of impasto application of paint is remarkable. He has used visual texture and physical texture. The brush stokes follow the contour of the face which is visible by the use of impasto.
I attempted to do this in my landscape painting. I would love to practice and improve my impasto use.
- Anuradha Raghuraman
During my visit at the MET I saw Rembrant's piece and up close visually it's compelling to see the texture technique used on his face. Every application served its purpose in providing an exceptional amount of depth and volume. To me, the layered texture mimics in many ways wrinkled skin which complements the overall feel of the painting. I also liked Georges De La Tour painting of Mary with the skull because my collage painting was compared to it. I could very much understand the characteristics our paintings both share as far as the dark tone that is felt. The low light casted from the candle is absolutely remarkable and is served as a focal point. I liked the red overlay of color that consumes the painting giving it this dark almost sinister feel.
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