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& # 8211 ; Van Gogh And Rembrandt Essay, Research Paper

Each creative person is an single with a alone manner, and although these manners can be similar in pattern? the individualism of the creative person frequently proves the discriminating factor for a successful graphics. Self-portraits are good when looking at the individualism of the creative person as there are two facets to look at? the creative person? s manner, and the creative person? s position of him/herself. The latter can supply a brief penetration into the mental state of affairs of the creative person every bit good as any evident influencing factors of the graphics. This position can frequently besides include fragmentary penetrations into the society and civilization of the clip. Rembrandt new wave Rijn and Vincent new wave Gogh are 2 creative persons of whom are good represented by this statement.

Rembrandt was born into a Dutch society of the Baroque epoch. This clip period influenced his manner of graphics to a great extent as these were the Post-High Renaissance old ages. This meant that the recognized graphicss of the society at the clip were sacredly based plants influenced by the attempts of the Reformation which was besides happening at the clip. This meant that Rembrandt painted his plants utilizing spiritual graphics methods such as the art of chiaroscuro, strategically be aftering the composing of light and dark to give the figures an enlightened or holy visual aspect. Therefore when Rembrandt painted self-portraits he carried over these methods, painting himself in this about holy presence with the usage of chiaroscuro. The self-portraits show a huge expressiveness that make the plants successful. Rembrandt longed to be like his Renaissance predecessors, frequently painting himself in the garments and manner tendencies of the Renaissance epoch. The most common of these depicted garments were the generic Berets that have now been typically associated with the common creative person as a stereotype. Looking at the ignoble ego portrayal of 1657 ( Figure 1 ) you can see Rembrandt? s attending to item and his continuity to accomplish life-likeness. He has built up the wrinkly forehead, the rucks of tegument, in really elaborate and effectual transitions of ruddy colorss. You can see the application of chiaroscuro in this picture which is evidently knowing as even his apparels, including stylish beret, are dark to assist with the distribution of visible radiation and dark with the focal point being on his face. This self portrayal is one I consider to be among his best. This work provides an penetration into Rembrandt? s indifference to uneasiness as you can see an aged, wrinkled adult male with a big wide olfactory organ and grey wisps of hair, all of which he has made no effort to positively change, he merely strives for pragmatism in his plants and finds no ground to change the physical world of his work for mere aesthetic intents. It provides an penetration into the civilization of the clip with the manner province Rembrandt has depicted himself in every bit good as the common chiaroscuro methods used in the picture which were common

for the civilization or society of the clip. The self-portrait of 1630 ( Figure 2 ) shows how even from early in his calling Rembrandt strove for pragmatism in his plants. You are one time once more struck by the honestness shown in this portrayal. The absence of self-flattery aid to turn out its success as an expressive, realistic graphics. This work has another penetration into the civilization of the clip through his manner. This clip you can see him have oning black once more, but with a igniter coloured frilled neckband on the shirt, merely demoing manner tendencies at the clip.

These self-portraits by Rembrandt turn out his individualism as an creative person and as a individual, non being afraid to conceal the imperfectnesss of the human signifier. This in itself shows the nature of society and civilization at the clip with the Post-Renaissance stance on art still being to concentrate on pragmatism non aesthetics, but with the manner Rembrandt portrays himself in, we besides are provided with an penetration into how people at the clip would hold been dressed, demoing society tendencies.

Van Gogh, like Rembrandt, was born into a Dutch society but into the Post-Impressionist epoch of art. Unlike Rembrandt? s spiritual motives, new wave Gogh? s works weren? Ts based on a peculiar society tendency. His topics were based on natural emotion and were expressed through vivacious coloring material and coppice shots. This method proved interesting when applied to his self-portraits. The about wild shots appear disorganised from up-close but from a distance they merge into an expressive, more than frequently successful graphics. Looking at the self-portrait from 1887 ( Figure 3 ) you can see how van Gogh has attempted to escalate the face and the look on it, largely by utilizing a assortment of coloring material and shortened coppice shots. This work shows a similarity to self-portraits by Rembrandt as the focal point of the work is on the face, and the manner this focal point is produced is by the distribution of visible radiation and dark in the image. They differ in that Rembrandt? s method is the more tone based chiaroscuro pattern, and new wave Gogh merely radiates the shots from the face making an lighted consequence. The work shows an approximative image of new wave Gogh? s visual aspect, the deficiency of terrible pragmatism with new wave Gogh? s methods means that a wholly accurate representation of his individualism can non be presented as in Rembrandt? s portrayals. With the coat and hat new wave Gogh is have oning in the portrayal you are presented with an penetration into the civilization of the clip. Van Gogh? s painting methods besides present an penetration as it shows how the society at the clip more openly accepted divergence from traditional art pattern.

Van Gogh and Rembrandt? s self-portraits can be compared openly due to their expressiveness, society representation and the common technique they appear to portion. Their graphicss non merely reflect their individualism but besides provide fragmentary penetrations into the society and civilization of the society in which they lived.

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